title: The Time (band)

text: By 1981, Prince had built The Time out of an existing Minneapolis funk/R&B unit, Flyte Tyme, which featured Cynthia Johnson on lead vocals and sax, Anton (Tony) Johnson on guitar, David Eiland on saxophone, Jellybean Johnson on drums, Jimmy Jam and Monte Moir on keyboards, and Terry Lewis on bass. To the last four were added Jesse Johnson on guitar and a lead singer and childhood friend named Morris Day, as well as Jerome Benton, who was a promoter drawn from another local band called "Enterprise", who became Day's comic foil.


title: The Time (band)

text: The band went on to release four funk albums, generally light and humorous in tone, strongly influenced by Funkadelic, Parliament, James Brown and Sly Stone. Although they scored numerous hits during the early 1980s, including "Cool" (1981), "Jungle Love" (1985), "777-9311", "Get It Up" (1981), "Gigolos Get Lonely Too", and "The Walk", mostly on the R&B charts, they never approached superstardom. With the exception of singer Morris Day, who was required to follow Prince's guide vocals note-for-note, none of the band played on their debut album. Prince instead played all the instruments himself, crediting the production to his alter-ego, "Jamie Starr", and Morris Day.


title: The Time (band)

text: A rivalry developed between The Time and Prince's band during their 1982 "Controversy Tour". Frustrated with their lack of input on the albums bearing their name and at being underpaid, The Time would take to the stage with the intent of showing up Prince. On the final night of the tour in Cincinnati, during the Time's set, Prince and some of his band threw eggs at their supporting act from offstage. After The Time's performance, guitarist Jesse Johnson was handcuffed to a wall-mounted coat rack. Prince demanded no interruptions during his performance, but as soon as he left the stage, a food fight erupted. When the battle continued at the hotel, Prince held Morris Day responsible and made him pay for all damages.


title: The Time (band)

text: During the 1982–83 "1999/Triple Threat" tour, The Time served as Vanity 6's backing band from behind a curtain, before playing their own hour-long set. They liked the arrangement because the band saw it as free money. Terry Lewis said, "I'll play behind Vanity 6 for thirty minutes for $250. No problem. I was going to have to do the sound check, anyway." Jimmy Jam and Terry Lewis, who had begun writing songs and producing albums of their own (working with SOLAR to produce Klymaxx and with Tabu Records to produce the S.O.S. Band), were stranded in Atlanta by a blizzard and failed to make it to a Time concert in San Antonio, for which Jerome had to mime playing bass guitar on stage while Prince played Lewis's part off stage, and Lisa Coleman stood in for Jimmy Jam. Subsequently, the duo were fined and then fired, although Prince would state in a 1990 "Rolling Stone" interview: "I didn't fire Jimmy and Terry. Morris "asked" me what I would do in his situation. You got to remember, it was "his" band." Whether their firing was due to the incident or to their increasing independence has never been clear. Monte Moir took the opportunity to leave as well, and would also work with Jam and Lewis. The three were replaced with Mark Cardenas and Paul Peterson on keyboards and Rocky Harris on bass. This new line up, with Jerry Hubbard replacing Rocky Harris, was featured in Prince's "Purple Rain" film. The Time rode the wave of popularity created by the movie and hit singles "Jungle Love" and "The Bird".


title: The Time (band)

text: Day left after arguments with Prince, choosing to pursue a solo career in 1985 after a successful acting turn in "Purple Rain". With Jesse Johnson also opting to go solo (taking other Time members Cardenas and Hubbard with him), the band disintegrated. The remaining members (Benton, Jellybean Johnson and Peterson) were reformed into a new short-lived project called The Family. Meanwhile, Jimmy Jam and Terry Lewis went on to become one of the most successful songwriting and production teams of the 1980s and 1990s.


title: The Time (band)

text: In 1990, the original seven members of the band reunited for the "Graffiti Bridge" movie and soundtrack, as well as a new album, "Pandemonium". The project was originally called "Corporate World" and was set to only feature Morris and Jerome, but Warner Bros. demanded that the original line-up be brought in if Prince wanted the company's backing for the movie. This spawned their highest selling single, "Jerk Out" and the album featured more input from the band than any other Time album. "Nobody really "needed" to put The Time back together," said Lewis, "but everybody wanted to. That makes it a great experience all round. We take the musicianship and the craft of what we do very seriously but, when the seven of us get together, it's naturally a party, fun kinda situation. We carry that from the record on to the stage."


title: The Time (band)

text: The reunion was short-lived, as infighting within the band caused them to disband once again. Morris and Jerome have since remained a team, with both trying out some small acting roles over the next few years.


title: The Time (band)

text: Several members of The Time reunited in 1995, added a few new recruits, Tori Ruffin on guitar, Chance Howard on keyboards, Robert GI' Grissett Jr. on third keyboards and Ricky "Freeze" Smith on bass guitar. This version of the band can be seen in the Kevin Smith film "Jay and Silent Bob Strike Back" and toured frequently usually billed as "Morris Day and The Time".


title: The Time (band)

text: A fifth Time album was rumored to have been completed in the late 1990s, recorded with the new lineup, but production and coordination with Prince has prevented its release. "Old Dogs, New Tricks" was the working title. A 2004 album attributed to Morris Day called "It's About Time" contains a few new tracks written and performed by Day and a number of live performances by The Time featuring the new members along with Jellybean, Jerome, Monte & Morris.


title: The Time (band)

text: The Time reunited at The 50th Grammy Awards on February 10, 2008, performing a medley that included Rihanna and featured "Jungle Love".


title: The Time (band)

text: In June and July 2008, all of the original members of The Time (Morris Day, Jimmy Jam, Terry Lewis, Jesse Johnson, Jerome Benton, Jellybean Johnson, and Monte Moir) reunited once again for a series of shows at the Flamingo Hotel and Casino in Las Vegas.


title: The Time (band)

text: A January 2009 interview mentions that guitarist Jesse Johnson states he is working with The Time on their upcoming album. The Time appeared at The Fox Theater, in Detroit, Michigan on June 11, 2010, with the original lineup to a packed house. Two days later during what Jimmy Jam dubbed "The Stingy Tour" on June 13, 2010 the "magnificent 7" played a hometown reunion concert in Minneapolis, MN, and, during that concert, announced on stage that a new album was "90% complete", which confirmed information provided in a "Billboard" profile published a week earlier.


title: The Time (band)

text: In September 2011, the band announced a name change to The Original 7ven and a new album "Condensate" which was released October 18, 2011 with the single "#Trendin" released September 20. Concerning the name change, Jimmy Jam said that “the decision was made at that point that we could either continue to, shall we say, negotiate or argue or plead or whatever. We decided to go the route of 'let’s not hold things up because of the name. Let’s embrace the opportunity to move forward in a new era, with a new outlook, with a new album' and that’s what we did. We think the name reflects exactly who we are. We are the Original 7even and that basically, for me, covers it.”


title: The Time (band)

text: On November 17, 2011, The Original 7ven opened the "Soul Train Music Awards" in Atlanta, Georgia. The show was broadcast on November 27.


title: The Time (band)

text: On April 21, 2016, group founder Prince was pronounced dead in his Paisley Park complex. Members of the band paid tribute to him in subsequent live performances and on Facebook.


title: The Time (band)

text: On the weekend of June 24/25, 2016, Morris Day & The Time appeared at a Prince Tribute in London organised by the charity Autism Rocks. The charity was supported by Prince with live shows, including his last in the UK. Alongside Morris and The Time were other artists influenced or otherwise involved with Prince including CeeLo Green, Mark Ronson and Larry Graham & Graham Central Station.


title: The Time (band)

text: On February 12, 2017, the original lineup of The Time played a brief two-song set at the Grammy Awards in Los Angeles, California, held at Staples Center as part of a tribute to Prince. The Time's appearance was followed by a performance by Bruno Mars.


title: The Time (band)

text: The band has been honored with a star on the exterior of the Minneapolis nightclub First Avenue, where both the original roster and the second lineup of the group performed (first in October 1981 and later in the film "Purple Rain"). The stars on the building recognize performers who have played sold-out shows or have otherwise demonstrated a major contribution to the culture at the iconic venue. Receiving a star "might be the most prestigious public honor an artist can receive in Minneapolis," according to journalist Steve Marsh.


title: The Time (band)

text: In March, 2022, a Los Angeles Times article reported that the Prince Estate had recently informed Day that he “‘can no longer use Morris Day and the Time in any capacity.’” Music industry attorney Erin M. Jacobson was quoted in the article saying that it was more accurate to say the letter said that Day could not claim “‘ownership of the name,’” but there was still opportunity to use the name via an agreement with the Prince Estate that would provide terms for Day to monetarily compensate “‘the trademark owner in exchange for the ability to continue using the name.’”


title: Torx

text: Torx (pronounced ) is a trademark for a type of screw drive characterized by a 6-point star-shaped pattern, developed in 1967 by Camcar Textron. A popular generic name for the drive is "star", as in star screwdriver or star bits. The official generic name, standardized by the International Organization for Standardization as ISO 10664, is hexalobular internal. This is sometimes abbreviated in databases and catalogs as 6lobe (starting with the numeral "6", not the capital letter "G"). Torx Plus, Torx Paralobe and Torx ttap are improved head profiles.


title: Torx

text: Star screws are commonly found on automobiles, motorcycles, bicycle brake systems (disc brakes), hard disk drives, computer systems and consumer electronics. Initially, they were sometimes used in applications requiring tamper resistance, since the drive systems and screwdrivers were not widely available; as drivers became more common, tamper-resistant variants, as described below, were developed. Torx screws are also becoming increasingly popular in construction industries.


title: Torx

text: By design, Torx head screws resist cam-out better than Phillips head or slot head screws. Whereas the tendency of Phillips drivers to cam out under excessive torque has been listed as a feature preventing damage to the screw-head or driver, Torx heads were designed to "prevent" cam-out. The development of better torque-limiting automatic screwdrivers for use in factories allowed this change. Rather than rely on the tool to slip out of the screw head when a desired torque level is reached (which risks damage to the driver tip, screw head, and/or workpiece), torque-limiting driver designs achieve a desired torque consistently.


title: Torx

text: The Torx design allows for a higher torque to be exerted than a similarly sized conventional hex socket head without damaging the head and/or the tool. The diagram depicts the interaction between the male and female components of a conventional hex drive and a Torx drive. The clearance between the components is exaggerated for clarity.


title: Torx

text: The green circle, passing through the six points of contact between the two components, represents the direction of the rotational force being exerted at each of those points. Because the plane of contact is not perpendicular to this circle, a radial force is also generated which tends to "burst" the female component and "crush" the male one. If this radial force component is too great for the material to withstand, it will cause the corners to be rounded off one or both components or will split the sides of the female part. The magnitude of this force is proportional to the cotangent of the angle (depicted in orange) between the green circle and the contact plane.


title: Torx

text: For the Torx type of design, the angle is much closer to 90° than in the case of the hex head, and so for a given torque the potentially damaging radial force is much lower. This property allows the head of the fastener to be smaller for the same required torque, which can be an advantage in applications where space to accommodate the head is limited.


title: Torx

text: Torx head sizes are described using the capital letter "T" followed by a number ranging from T1 to T100. But some manufacturers and resellers head sizes are also abbreviated using "TX" or "Tx" in front of the number. A smaller number corresponds to a smaller point-to-point dimension of the screw head (diameter of circle circumscribed on the cross-section of the tip of the screw driver). Common sizes include T10, T15, and T25, while T35 and T47 tend to see specialized use. Only the proper driver can drive a specific head size without risk of damaging the driver or screw. The same series of Torx drivers is used to drive SAE, metric and other thread system fasteners, reducing the number of bit sizes required.


title: Torx

text: The "external" variants of Torx head sizes (see below) are described using the capital letter "E" followed by a number ranging from E4 to E44. The "E" numbers are different from the "T" numbers of the same size: for example, an E4 Torx socket fits a T20 head.


title: Torx

text: Although the brand "Torx" generally refers to the standard 6-star-driver or -socket, there are many variations to the original design, including a number made and/or licensed by Torx. Other tool manufacturers have been producing 8-, 10- and 12-point star drivers and sockets for many decades. The Torx brand is often used universally to describe these and other star driver variations.


title: Torx

text: A version known as Security Torx, Tamper-Resistant Torx (often shortened to Torx TR) or pin-in Torx contains a post in the center of the head that prevents a standard Torx driver (or a straight screwdriver) from being inserted.


title: Torx

text: Security Torx has its own set of variations, and many other variations of Torx drives are available in Security or TR versions. These include 5- and 7-lobed TR heads.


title: Torx

text: Torx Paralobe is a further developed Torx Drive System with 6% longer Flanks which results in a 20% higher applicable torque.


title: Torx

text: A Torx successor, Torx Plus, was introduced around 1990 when the original Torx patent was expiring. Torx Plus patent expired in 2011. The lobes are more square to allow for higher torque and to minimize wear. The name is shortened to IP (Internal Plus) with sizes ranging from 1IP to 100IP (sometimes listed as IP1 to IP100 ) and EP (External Plus) with sizes ranging from 1EP to 42EP as well as smaller sizes ranging from H7EP to H2EP and includes five-lobed tamper-resistant variants. The specifications for these licenses are held by Textron. Standard Torx drivers can be used to drive Torx Plus screws, but not to full torque because of the loose fit. Torx Plus drivers will not fit into standard Torx screws.


title: Torx

text: A proprietary version of Torx called Torx ttap was developed in 2006 and is licensed by Acument Intellectual Properties. It features a second recess to create a "stick-fit" engagement (branded Frixion Fit), designed to minimize wobbling (branded Stable Drive) without pressing and the need for magnetic bits, a feature that can be important to certain industrial users. Standard Torx drivers can be used to drive Torx ttap screws, but Torx ttap drivers will not fit standard Torx screws.


title: Torx

text: AudiTorx is a tamper-proof fastener where a convex and smooth fastener head is topped with a break-away Torx drive that snaps off when the engineered torque is reached, leaving a rivet-like bolt head that can't be easily removed. The main application for these fasteners is in the railroad industry.


title: Torx

text: An External Torx version exists, also known as Inverted Torx, where the screw head has the shape of a Torx screwdriver bit, and a Torx socket is used to drive it. The external “E” Torx nominal sizing does not correlate to the “T” size, (e.g. an E40 socket is too large to fit a T40 Torx bit, while an E8 Torx socket will fit a T40 Torx bit).


title: Torx

text: AW drive is a hexalobular-type screw head similar to Torx, with a tapered profile to aid in centering, developed by the Würth Group in Germany. It is available in five sizes: AW 10, AW 20, AW 25, AW 30 and AW 40.


title: Nahuas

text: The Nahuas () are a group of the indigenous people of Mexico, El Salvador, Guatemala, Honduras, and Nicaragua. They comprise the largest indigenous group in Mexico and second largest in El Salvador. The Mexica (Aztecs) were of Nahua ethnicity, and the Toltecs are often thought to have been as well, though in the pre-Columbian period Nahuas were subdivided into many groups that did not necessarily share a common identity.


title: Nahuas

text: Their Nahuan languages, or Nahuatl, consist of many variants, several of which are mutually unintelligible. About 1.5 million Nahuas speak Nahuatl and another million speak only Spanish. Fewer than 1,000 native speakers of Nahuatl remain in El Salvador.


title: Nahuas

text: It is suggested that the Nahua peoples originated near Aridoamerica, in regions of the present day Mexican states of Durango and Nayarit or the Bajío region. They split off from the other Uto-Aztecan speaking peoples and migrated into central Mexico around 500 CE. The Nahua then settled in and around the Basin of Mexico and spread out to become the dominant people in central Mexico. However, Nahuatl-speaking populations were present in smaller populations throughout Mesoamerica.


title: Nahuas

text: The name ' is derived from the Nahuatl word-root , which generally means "audible, intelligible, clear" with different derivations including "language" (hence "to speak clearly" and both "something that makes an agreeble sound" and "someone who speaks well or speak one's own language"). It was used in contrast with , "to speak unintelligibly" or "speak a foreign language". Another, related term is ' (singular) or (plural) literally "Nahuatl-speaking people".


title: Nahuas

text: The Nahuas are also sometimes referred to as Aztecs. Using this term for the Nahuas has generally fallen out of favor in scholarship, though it is still used for the Aztec Empire. They have also been called ' (singular), ' (plural) or in Spanish "Mexicans", after the Mexica, the Nahua tribe which founded the Aztec Empire.


title: Nahuas

text: At the turn of the 16th century, Nahua populations occupied territories ranging across Mesoamerica as far south as Panama. However, their core area was Central Mexico, including the Valley of Mexico, the Toluca Valley, the eastern half of the Balsas River basin, and modern-day Tlaxcala and most of Puebla, although other linguistic and ethnic groups lived in these areas as well. They were also present in large numbers in El Salvador, southeastern Veracruz, and Colima and coastal Michoacan. Classical Nahuatl was a lingua franca in Central Mexico before the Spanish conquest due to Aztec hegemony, and its role was not only preserved but expanded in the initial stage of colonial rule, encouraged by the Spaniards as a literary language and tool to convert diverse Mesoamerican peoples. There are many Nahuatl place names in regions where Nahuas were not the most populous group (including the names of Guatemala and several Mexican states), due to pre-Hispanic Aztec expansion, Spanish invasions in which Tlaxcaltecs served as the main force, and the usage of Nahuatl as a lingua franca.


title: Nahuas

text: The last of the southern Nahua populations today are the Pipil of El Salvador. Nahua populations in Mexico are centered in the middle of the country, with most speakers in the states of Puebla, Veracruz, Hidalgo, Guerrero and San Luis Potosí. However, smaller populations are spread throughout the country due to recent population movements within Mexico. Within the last 50 years, Nahua populations have appeared in the United States, particularly in New York City, Los Angeles, and Houston.


title: Nahuas

text: Archaeological, historical and linguistic evidence suggest that the Nahuas originally came from the deserts of northern Mexico (Aridoamerica) and migrated into central Mexico in several waves. The presence of the Mexicanero people (who speak a Nahuatl variant) in this area until the present day affirms this theory.


title: Nahuas

text: Before the Nahuas entered Mesoamerica, they were probably living for a while in northwestern Mexico alongside the Cora and Huichol peoples. The first group of Nahuas to split from the main group were the Pochutec who went on to settle on the Pacific coast of Oaxaca possibly as early as 400 CE. From c. 600 CE the Nahua quickly rose to power in central Mexico and expanded into areas earlier occupied by Oto-Manguean, Totonacan and Huastec peoples. Through their integration in the Mesoamerican cultural area the Nahuas adopted many cultural traits including maize agriculture and urbanism, religious practices including a ritual calendar of 260 days and the practice of human sacrifices and the construction of monumental architecture and the use of logographic writing.


title: Nahuas

text: Around 1000 CE the Toltec people, normally assumed to have been of Nahua ethnicity, established dominion over much of central Mexico which they ruled from Tollan Xicocotitlan.


title: Nahuas

text: From this period on the Nahua were the dominant ethnic group in the Valley of Mexico and far beyond, and migrations kept coming in from the north. After the fall of the Toltecs a period of large population movements followed and some Nahua groups such as the Pipil and Nicarao arrived as far south as Nicaragua. And in central Mexico different Nahua groups based in their different "Altepetl" city-states fought for political dominance. The Xochimilca, based in Xochimilco ruled an area south of Lake Texcoco; the Tepanecs ruled the area to the west and the Acolhua ruled an area to the east of the valley. One of the last of the Nahua migrations to arrive in the valley settled on an island in the Lake Texcoco and proceeded to subjugate the surrounding tribes. This group were the Mexica who during the next 300 years became the dominant ethnic group of Mesoamerica ruling from Tenochtitlan their island capital. They formed the Aztec Empire after allying with the Tepanecs and Acolhua people of Texcoco, spreading the political and linguistic influence of the Nahuas well into Central America.


title: Nahuas

text: In 1519 an expedition of Spaniards sailing from Cuba under the leadership of Hernán Cortés arrived on the Mexican gulf coast near the Totonac city of Quiyahuiztlan. The Totonacs were one of the peoples that were politically subjugated by the Aztecs and word was immediately sent to the Aztec Emperor (in Nahuatl, Tlatoani) of Tenochtitlan Motecuhzoma II. Going inland the Spaniards encountered and fought with Totonac forces and Nahua forces from the independent Altepetl of Tlaxcallan. The Tlaxcaltecs were a Nahua group who had avoided being subjugated by the Aztecs. After being defeated in battle by the Spaniards, the Tlaxcalans entered into an alliance with Cortes that would be invaluable in the struggle against the Aztecs. The Spanish and Tlaxcaltec forces marched upon several cities that were under Aztec dominion and "liberated" them, before they arrived in the Aztec capital of Tenochtitlan. There they were welcomed as guests by Motecuhzoma II, but after a while they took the ruler prisoner. When the Aztec nobility realized that their ruler had been turned into a Spanish puppet they attacked the Spaniards and chased them out of the city. The Spaniards sought refuge in Tlaxcala where they regrouped and awaited reinforcements. During the next year they cooperated with large Tlaxcaltec armies and undertook a siege campaign resulting in the final fall of Tenochtitlan. After the fall of Tenochtitlan Spanish forces now also allied with the Aztecs to incorporate all the previous Aztec provinces into the realm of New Spain. New Spain was founded as a state under Spanish rule but where Nahua people were recognized as allies of the rulers and as such were granted privileges and a degree of independence that other indigenous peoples of the area did not enjoy. Recently historians such as Stephanie Wood and Matthew Restall have argued that the Nahua did not experience the conquest as something substantially different from the sort of ethnic conflicts that they were used to, and that in fact they may have at first interpreted it as a defeat of one Nahua group by another.


title: Nahuas

text: With the arrival of the Spanish in Mesoamerica a new political situation ensued. The period has been extensively studied by historians, with Charles Gibson publishing a classic monograph entitled "The Aztecs Under Spanish Rule". Historian James Lockhart built on that work, publishing "The Nahuas After the Conquest" in 1992. He divides the colonial history of the Nahua into three stages largely based on linguistic evidence in local-level Nahuatl sources, which he posits are an index of the degree of interaction between Spaniards and Nahuas and changes in Nahua culture. An overview of the Nahuas of colonial Central Mexico can be found in the "Cambridge History of the Native Peoples of the Americas".


title: Nahuas

text: The early period saw the first stages of the establishment of churches by mendicant friars in large and important Indian towns, the assertion of crown control over New Spain by the high court ("Audiencia") and then the establishment of the viceroyalty, and the heyday of conqueror power over the indigenous via the encomienda. In the initial stage of the colonial period, contact between Spaniards and the indigenous populations was limited. It consisted mostly in the mendicants who sought to convert the population to Catholicism, and the reorganization of the indigenous tributary system to benefit individual Spaniards. The indigenous system of smaller settlements' paying tribute and rendering labor service to dominant political entities was transformed into the "Encomienda" system. Indigenous of particular towns paid tribute to a Spanish "encomendero" who was awarded the labor and tribute of that town. In this early period, the hereditary indigenous ruler or "tlatoani" and noblemen continued to hold power locally and were key to mobilizing tribute and labor for encomenderos. They also continued to hold titles from the pre-conquest period. Most willing accepted baptism so that records for this period show Nahua elites with Christian given names (indicating baptism) and many holding the Spanish noble title "don". A set of censuses in alphabetic Nahuatl for the Cuernavaca region c. 1535 gives us a baseline for the impact of Spanish on Nahuatl, showing few Spanish loanwords taken into Nahuatl.


title: Nahuas

text: As the Spaniards sought to extend their political dominance into the most remote corners of Mesoamerica, the Nahua accompanied them as auxiliaries. In the early colonial period, new Nahua settlements were made in northern Mexico and far south into Central America. Nahua forces often formed the bulk of the Spanish military expeditions that conquered other Mesoamerican peoples, such as the Maya, Zapotecs, and Mixtecs.


title: Nahuas

text: With the arrival of Christian missionaries, the first priority of the colonial authorities was eradicating indigenous religious practices, something they achieved by a combination of violence and threats of violence, and patient education. Nahua were baptized with Spanish names. The Nahua who did not abandon their religious practices were severely punished or executed. The Nahua, however, often incorporated pre-Christian practices and beliefs into the Christian religion without the authorities' noticing it. Often they kept practicing their own religion in the privacy of their homes, especially in rural areas where Spanish presence was almost completely lacking and the conversion process was slow.


title: Nahuas

text: The Nahua quickly took the Latin alphabetic writing as their own. Within 20 years of the arrival of the Spanish, the Nahua were composing texts in their own language. In 1536 the first university of the Americas, the "Colegio de Santa Cruz de Tlatelolco" was inaugurated. It was established by the Franciscans whose aim was to educate young Nahua noblemen to be Catholic priests who were trilingual: literate in Spanish, Latin and Nahuatl.


title: Nahuas

text: There are a large number of texts by and about Nahuas in this middle period and during this period Nahuatl absorbed a large number of loanwords from Spanish, particularly nouns for particular objects, indicating the closer contact between the European sphere and the indigenous. However, Nahuatl verbs and syntax show no evidence of the impact of Spanish contact. In the mid-sixteenth century, cultural change at the local level can be tracked through the production of Nahuatl alphabetic texts. The production of a wide range of written documents in Nahuatl dates from this period, including legal documents for transactions (bills of sale), minutes of indigenous town council ("cabildo") records, petitions to the crown, and others.


title: Nahuas

text: Institutionally, indigenous town government shifted from the rule of the tlatoani and noblemen to the establishment of Spanish-style town councils ("cabildos"), with officers holding standard Spanish titles. A classic study of sixteenth-century Tlaxcala, the main ally of the Spaniards in the conquest of the Mexica, shows that much of the prehispanic structure continued into the colonial period. An important set of cabildo records in Nahuatl for Tlaxcala is extant and shows how local government functioned in for nearly a century.


title: Nahuas

text: Regarding religion, by the mid- to late 16th century, even the most zealous mendicants of the first generation doubted the capacity of Nahua men to become Christian priests so that the Colegio de Santa Cruz de Tlatelolco ceased to function to that end and in 1555 Indians were barred from ordination to the priesthood. However, in local communities, stone-built church complexes continued to be built and elaborated, with murals in mixed indigenous-Spanish forms. Confraternities ("cofradías") were established to support the celebrations of a particular Christian saint and functioned as burial societies for members. During this period, an expression of personal piety, the Church promoted the making of last wills and testaments, with many testators donating money to their local Church to say Masses for their souls.


title: Nahuas

text: For individual Nahua men and women dictating a last will and testament to a local Nahua notary ("escribano") became standard. These wills provide considerable information about individuals' residence, kin relations, and property ownership provides a window into social standing, differences between the sexes, and business practices at the local level. showing not only that literacy of some elite men in alphabetic writing in Nahuatl was a normal part of everyday life at the local level and that the notion of making a final will was expected, even for those who had little property. A number of studies in the tradition of what is now called the New Philology extensively use Nahuatl wills as a source.


title: Nahuas

text: From the mid-seventeenth century to the achievement of independence in 1821, Nahuatl shows considerable impact from the European sphere and a full range of bilingualism. Texts produced at the local level that in the late sixteenth and early seventeenth centuries were sometimes a mixture of pictorial and alphabetic forms of expression were now primarily alphabetic. In the late eighteenth century, there is evidence of text being written in "Nahuatlized Spanish", written by Nahuas who were now communicating in their own form of Spanish. Year-by-year accounts of major occurrences, a text known as an annal, no longer reference the prehispanic period. Local level documentation for individual Nahuas continued to be produced, in particular last wills and testaments, but they are much more simplified than those produced in the late sixteenth century.


title: Nahuas

text: Nahuas began to produce an entirely new type of text, known as "primordial titles" or simply "titles" ("títulos"), that assert indigenous communities' rights to particular territory, often by recording local lore in an atemporal fashion. There is no known prehispanic precedent for this textual form and none appears before 1650. Several factors might be at work for the appearance of titles. One might be a resurgence of indigenous population after decades recovering from devastating epidemics when communities might have been less concerned with Spanish encroachment. Another might be the crown's push to regularize defective land titles via a process known as "composición". The crown had mandated minimum land holdings for indigenous communities at 600 "varas", in property that was known as the "fundo legal", and to separate indigenous communities from Spanish lands by more than 1,100 varas. Towns were to have access to water, uplands for gathering firewood, and agricultural land, as well as common lands for pasturage. Despite these mandated legal protections for Indian towns, courts continued to find in favor of Spaniards and the rules about minimum holdings for Indian towns were ignored in practice.


title: Nahuas

text: Labor arrangements between Nahuas and Spaniards were largely informal, rather than organized through the mainly defunct encomienda and the poorly functioning repartimiento. Spanish landed estates needed a secure labor force, often a mixture of a small group of permanent laborers and part-time or seasonal laborers drawn from nearby indigenous communities. Individual Indians made arrangements with estate owners rather than labor being mobilized via the community. The indigenous communities continued to function as political entities, but there was greater fragmentation of units as dependent villages ("sujetos") of the main settlement ("cabecera") sought full, independent status themselves. Indigenous officials were no longer necessarily noblemen.


title: Nahuas

text: With the achievement of Mexican independence in 1821, the casta system, which divided the population into racial categories with differential rights, was eliminated and the term "Indian" ("indio") was no longer used by government, although it continued to be used in daily speech. The creation of a republic in 1824 meant that Mexicans of all types were citizens rather than vassals of the crown. One important consequence for Nahuas and other indigenous was that documentation in the native languages generally ceased to be produced. Native towns did not cease to exist nor did indigenous populations speaking their own language, but the indigenous were far more marginalized in the post-independence period than during the colonial era. In the colonial era the crown had a paternalistic stance toward the Indians, in essence according them special rights, a fuero, and giving support to structures in indigenous towns and giving natives a level of protection against non-Indians. This can be seen in the establishment of the General Indian Court where Indian towns and individual Indians could sue those making incursions on their land and other abuses. These protections disappeared in the national period. One scholar has characterized the early national period of Nahuas and other indigenous "as the beginning of a systematic policy of cultural genocide and the increasing loss of native languages." Lack of official recognition and both economic and cultural pressures meant that most indigenous peoples in Central Mexico became more Europeanized and many became Spanish speakers.


title: Nahuas

text: In nineteenth-century Mexico, the so-called "Indian Question" exercised politicians and intellectuals, who viewed the indigenous as backward, unassimilated to the Mexican nation, whose custom of communal rather than individual ownership of land was impediment to economic progress. Non-Indian landowners of estates had already encroached on indigenous ownership in the colonial era, but now liberal ideology sought to end communal protections on ownership with its emphasis on private property. Since land was the economic basis for Indians' ability to maintain a separate identity, land tenure became a central issue for liberal reformers. The liberal Reforma enshrined in the Constitution of 1857 mandated the breakup of corporate-owned property, therefore targeting indigenous communities and the Roman Catholic Church, which also had significant holdings. This measure affected all indigenous communities, including Nahuas, holding land. Liberal Benito Juárez, a Zapotec who became president of Mexico, was fully in support of laws to end corporate landholding. The outbreak of the Mexican Revolution in Morelos, which still had a significant Nahua population, was sparked by peasant resistance to the expansion of sugar estates. This was preceded in the nineteenth century by smaller indigenous revolts against encroachment, particularly during the civil war of the Reforma, foreign intervention, and a weak state following the exit of the French in 1867.


title: Nahuas

text: A number of indigenous men had made a place for themselves in post-independence Mexico, the most prominent being Benito Juárez. But an important nineteenth-century figure of Nahua was Ignacio Manuel Altamirano (1834–93), born in Tixtla, Guerrero who became a well respected liberal intellectual, man of letters, politician, and diplomat. Altamirano was a fierce anticlerical politician, and was known for a period as "the Marat of the Radicals" and an admirer of the French Revolution. Altamirano, along with other liberals, saw universal primary public education as a key way to change Mexico, promoting for upward mobility. Altamirano's chief disciple in this view was Justo Sierra.


title: Nahuas

text: The Mexican government does not categorize its citizens by ethnicity, but only by language. Statistical information recorded about the Nahua deals only with speakers of the Nahuatl language, although unknown numbers of people of Nahua ethnicity have abandoned the language and now speak only Spanish. Other Nahuas, though bilingual in Nahuatl and Spanish, seek to avoid widespread anti-indigenous discrimination by declining to self-identify as Nahua in INEGI's decennial census. Nor does the census count as indigenous children under 5 (estimated to be 11-12% of the indigenous population). An INI-Conepo report indicates the Mexican indigenous population is nearly 250% greater than that reported by INEGI.


title: Nahuas

text: Across Mexico, Nahuatl is spoken by an estimated 1.4 million people, including some 190,000 who are monolingual. The state of Guerrero has the highest ratio of monolingual Nahuatl speakers, calculated at 24.8%, based on 2000 census figures. The proportion of monolinguals for most other states is less than 5%.


title: Nahuas

text: The largest concentrations of Nahuatl speakers are found in the states of Puebla, Veracruz, Hidalgo, San Luis Potosí, and Guerrero. Significant populations are also found in México State, Morelos, and the Mexican Federal District, with smaller communities in Michoacán and Durango. Nahuatl was formerly spoken in the states of Jalisco and Colima, where it became extinct during the 20th century. As a result of internal migrations within the country, all Mexican states today have some isolated pockets and groups of Nahuatl speakers. The modern influx of Mexican workers and families into the United States has resulted in the establishment of a few small Nahuatl-speaking communities, particularly in Texas, New York and California.


title: Nahuas

text: 64.3% of Nahuatl speakers are literate in Spanish compared with the national average of 97.5% for Spanish literacy. Male Nahuatl speakers have 9.8 years of education on average and women 10.1, compared with the 13.6 and 14.1 years that are the national averages for men and women, respectively.


title: Nahuas

text: Many Nahua are agriculturists. They practice various forms of cultivation including the use of horses or mules to plow or slash-and-burn. Common crops include corn, wheat, beans, barley, chilli peppers, onions, tomatoes, and squash. Some Nahuas also raise sheep and cattle.


title: Kelly Greyson

text: Kelly Greyson is an American actress. Her acting roles include Lana in "Return to the Hiding Place", Tyra in "Little Boy", Jocelyn Stewart in "To Have and To Hold", Catie Reynolds in "Disturbing The Peace" with Guy Pearce and Pam Harris in "Out of Death" starring Bruce Willis.


title: Kelly Greyson

text: Greyson made her film debut as Lana in "Return to the Hiding Place" (Originally released as "War of Resistance"). In 2013, she took the lead role in historical drama "Alone yet Not Alone" directed by George Escobar, where she played Barbara, who was captured and later adopted as Susquehanna by the Delaware Tribe of Indians during the French and Indian War.


title: Kelly Greyson

text: In 2014, Greyson was cast for the role of a young socialite and CIA agent in the spy thriller "Double Identity". In 2015, she played a role of Sheila in "Woodlawn", a 2015 American Christian sports drama film directed by the Erwin brothers. The same year she appeared as Tyra in Little Boy and starred as Jocelyn Stewart in "To Have and To Hold", a drama film based on the novel written by Mary Johnston in 1900.


title: Kelly Greyson

text: In 2017, Greyson played Maggie in "Broken Memories", an independent romantic-drama about the main hero Jasper's struggle with Alzheimer’s and his relations with the family and friends. The film received two awards from The IndieFEST Film Awards.


title: Kelly Greyson

text: In 2020, Greyson played Catie Reynolds in Disturbing the Peace, directed by York Alec Shackleton and starring Guy Pearce. Most recently, Greyson appeared in The Fortress, The Fortress 2 and Out of Death starring Bruce Willis.


title: Kelly Greyson

text: Since 2017, Kelly Greyson has been actively involved in civil campaigns to end violence against women and collaborating with PNG Tribal Foundation, a non-governmental charity organization based in Papua New Guinea.


title: Amos 'n' Andy

text: Amos 'n' Andy is an American radio sitcom about black characters, initially set in Chicago and later in the Harlem section of New York City. While the show had a brief life on 1950s television with black actors, the 1928 to 1960 radio show was created, written and voiced by two white actors, Freeman Gosden and Charles Correll, who played Amos Jones (Gosden) and Andrew Hogg Brown (Correll), as well as incidental characters. On television, 1951–1953, black actors took over the majority of the roles; white characters were infrequent.


title: Amos 'n' Andy

text: "Amos 'n' Andy" began as one of the first radio comedy series and originated from station WMAQ in Chicago. After the first broadcast in 1928, the show became a hugely popular series, first on NBC Radio and later on CBS Radio and Television. Early episodes were broadcast from the El Mirador Hotel in Palm Springs, California. The show ran as a nightly radio serial (1928–43), as a weekly situation comedy (1943–55) and as a nightly disc-jockey program (1954–60). A television adaptation ran on CBS (1951–53) and continued in syndicated reruns (1954–66). It was not shown to a nationwide audience again until 2012.


title: Amos 'n' Andy

text: Gosden and Correll were white actors familiar with minstrel traditions. They met in Durham, North Carolina in 1920. Both men had some scattered experience in radio, but it was not until 1925 that the two appeared on Chicago's WQJ. Their appearances soon led to a regular schedule on another Chicago radio station, WEBH, where their only compensation was a free meal. The pair hoped that the radio exposure would lead to stage work; they were able to sell some of their scripts to local bandleader Paul Ash, which led to jobs at the "Chicago Tribune"'s station WGN in 1925. This lucrative offer enabled them to become full-time broadcasters. The Victor Talking Machine Company also offered them a recording contract.


title: Amos 'n' Andy

text: Since the "Tribune" syndicated Sidney Smith's popular comic strip "The Gumps", which had successfully introduced the concept of daily continuity, WGN executive Ben McCanna thought a serialized version would work on radio. He suggested that Gosden and Correll adapt "The Gumps" for radio. The idea seemed to involve more risk than either Gosden or Correll was willing to take; neither was adept at imitating female voices, which would have been necessary for "The Gumps". They were also conscious of having made names for themselves with their previous act. By playing the roles of characters using minstrel dialect, they would be able to conceal their identities enough to be able to return to their old pattern of entertaining if the radio show proved to be a failure.


title: Amos 'n' Andy

text: Instead, they proposed a series about "a couple of colored characters" that borrowed certain elements from "The Gumps". Their new show, "Sam 'n' Henry", began on January 12, 1926 and fascinated radio listeners throughout the Midwestern United States. It became so popular that in 1927 Gosden and Correll requested that it be distributed to other stations on phonograph records in a "chainless chain" concept that would have been the first radio syndication. When WGN rejected the proposal, Gosden and Correll quit the show and the station; their last musical program for WGN was announced in the "Chicago Daily Tribune" on January 29, 1928. Episodes of "Sam 'n' Henry" continued to air until July 14, 1928. Correll's and Gosden's characters contractually belonged to WGN, so the pair was unable to use the characters' names when performing in personal appearances after leaving the station.


title: Amos 'n' Andy

text: WMAQ, the "Chicago Daily News" station, hired Gosden and Correll and their former WGN announcer Bill Hay to create a series similar to "Sam 'n' Henry". It offered higher salaries than WGN as well as the right to pursue the syndication idea. The creators later said that they named the characters Amos and Andy after hearing two elderly African-Americans greet each other by those names in a Chicago elevator. "Amos 'n' Andy" began on March 19, 1928 on WMAQ, and prior to airing each program, Gosden and Correll recorded their show on 78-rpm discs at Marsh Laboratories, operated by electrical recording pioneer Orlando R. Marsh. Early 1930s broadcasts of the show originated from the El Mirador Hotel in Palm Springs, California.


title: Amos 'n' Andy

text: For the program's entire run as a nightly series in its first decade, Gosden and Correll provided over 170 male voice characterizations. With the episodic drama and suspense heightened by cliffhanger endings, "Amos 'n' Andy" reached an ever-expanding radio audience. It was the first radio program to be distributed by syndication in the United States, and by the end of the syndicated run in August 1929, at least 70 other stations carried recorded episodes.


title: Amos 'n' Andy

text: Amos Jones and Andy Brown worked on a farm near Atlanta, Georgia, and during the first week's episodes, they made plans to find a better life in Chicago, despite warnings from a friend. With four ham-and-cheese sandwiches and $24, they bought train tickets and headed for Chicago, where they lived in a rooming house on State Street and experienced some rough times before launching their own business, the Fresh Air Taxi Company. (The first car they acquired had no windshield; the pair turned it into a selling point.) By 1930, the noted toy maker Louis Marx and Company was offering a tin wind-up version of the auto, with Amos and Andy inside. The toy company produced a special autographed version of the toy as gifts for American leaders, including Herbert Hoover. There was also a book, "All About Amos 'n' Andy and Their Creators", in 1929 by Correll and Gosden (reprinted in 2007 and 2008), and a comic strip in the "Chicago Daily News".


title: Amos 'n' Andy

text: Naïve but honest Amos was hardworking, and, after his marriage to Ruby Taylor in 1935, also a dedicated family man. Andy was a gullible dreamer with overinflated self-confidence who tended to let Amos do most of the work. Their Mystic Knights of the Sea lodge leader, George "Kingfish" Stevens, would often lure them into get-rich-quick schemes or trick them into some kind of trouble. Other characters included John Augustus "Brother" Crawford, an industrious but long-suffering family man; Henry Van Porter, a social-climbing real estate and insurance salesman; Frederick Montgomery Gwindell, a hard-charging newspaperman; Algonquin J. Calhoun, a somewhat crooked lawyer added to the series in 1949, six years after its conversion to a half-hour situation comedy; William Lewis Taylor, Ruby's well-spoken, college-educated father; and Willie "Lightning" Jefferson, a slow-moving Stepin Fetchit–type character. The Kingfish's catchphrase, "Holy mackerel!", entered the American lexicon.


title: Amos 'n' Andy

text: There were three central characters: Correll voiced Andy Brown while Gosden voiced both Amos and the Kingfish. The majority of the scenes were dialogues between either Andy and Amos or Andy and Kingfish. Amos and Kingfish rarely appeared together. Since Correll and Gosden voiced virtually all of the parts, the female characters, such as Ruby Taylor, Kingfish's wife Sapphire, and Andy's various girlfriends, did not initially appear as voiced characters, but entered plots through discussions among the male characters. Prior to 1931, when Madame Queen (then voiced by Gosden) took the witness stand in her breach-of-promise lawsuit against Andy, a feminine voice was heard only once. Beginning in 1935, actresses began voicing the female characters, and after the program converted to a weekly situation comedy in 1943, other actors were recruited for some of the supporting male roles. However, Correll and Gosden continued to voice the three central characters on radio until the series ended in 1960.


title: Amos 'n' Andy

text: With the listening audience increasing in spring and summer 1928, the show's success prompted sponsor Pepsodent Company to bring it to the NBC Blue Network on August 19, 1929. With the Blue Network not heard on stations in the Western United States, many listeners complained to NBC that they wanted to hear the show but could not. Under a special arrangement, "Amos 'n' Andy" debuted coast-to-coast November 28, 1929, on NBC's Pacific Orange Network and continued on the Blue. WMAQ was then an affiliate of CBS and its general manager tried, to no avail, to interest that network in picking up the show. At the same time, the serial's central characters – Amos, Andy and the Kingfish – relocated from Chicago to Harlem. The program was so popular by 1930 that NBC's orders were to only interrupt the broadcast for matters of national importance and SOS calls. Correll and Gosden were earning a combined salary of $100,000, which they split three ways to include announcer Bill Hay, who had been with them when they began in radio.


title: Amos 'n' Andy

text: The story arc of Andy's romance (and subsequent problems) with Harlem beautician Madame Queen entranced some 40 million listeners during 1930 and 1931, becoming a national phenomenon. Many of the program's plotlines in this period leaned far more to straight drama than comedy, including the near-death of Amos's fiancée Ruby from pneumonia in the spring of 1931 and Amos's brutal interrogation by police following the murder of cheap hoodlum Jack Dixon that December. Following official protests by the National Association of Chiefs of Police, Correll and Gosden were forced to abandon that storyline, turning the entire sequence into a bad dream, from which Amos gratefully awoke on Christmas Eve.


title: Amos 'n' Andy

text: The innovations introduced by Gosden and Correll made their creation a turning point for radio drama, as noted by broadcast historian Elizabeth McLeod:


title: Amos 'n' Andy

text: <poem>As a result of its extraordinary popularity, "Amos 'n' Andy" profoundly influenced the development of dramatic radio. Working alone in a small studio, Correll and Gosden created an intimate, understated acting style that differed sharply from the broad manner of stage actors – a technique requiring careful voice modulation, especially in the portrayal of multiple characters. The performers pioneered the technique for varying both the distance from, and the angle of their approach to, the microphone to create the illusion of a group of characters. Listeners could easily imagine that they were in the taxicab office, listening to the conversation of close friends. The result was a uniquely absorbing experience for listeners, who, in radio's short history, had never heard anything quite like "Amos 'n' Andy".


title: Amos 'n' Andy

text: While minstrel-styled wordplay humor was common in the formative years of the program, it was used less often as the series developed, giving way to a more sophisticated approach to characterization. Correll and Gosden were fascinated by human nature, and their approach to both comedy and drama was drawn from their observations of the traits and motivations that drive the actions of all people. While their characters often overlapped popular African-American stereotypes, there was also a universality to their characters which transcended race; beneath the dialect and racial imagery, the series celebrated the virtues of friendship, persistence, hard work, and common sense, and as the years passed and the characterizations were refined, "Amos 'n' Andy" achieved an emotional depth rivaled by few other radio programs of the 1930s.


title: Amos 'n' Andy

text: Above all, Gosden and Correll were gifted dramatists. Their plots flowed gradually from one to the other, with minor subplots building in importance until they overtook the narrative, before receding to give way to the next major sequence; in this manner, seeds for storylines were often planted months in advance. This complex method of story construction kept the program fresh and enabled Correll and Gosden to keep their audiences in constant suspense. The technique that they developed for radio from that of the narrative comic strip endures as the standard method of storytelling in serial drama.</poem>


title: Amos 'n' Andy

text: Only a few dozen episodes of the original series have survived in recorded form. However, numerous scripts from the original episodes have been discovered and were used by McLeod when preparing her previously cited 2005 book.


title: Amos 'n' Andy

text: "Amos 'n' Andy" was officially transferred by NBC from the Blue Network to the Red Network in 1935, although the vast majority of stations carrying the show remained the same. Several months later, Gosden and Correll moved production of the show from NBC's Merchandise Mart studios in Chicago to Hollywood. After a long and successful run with Pepsodent, the program changed sponsors in 1938 to Campbell's Soup; because of Campbell's closer relationship with CBS, the series switched to that network on April 3, 1939.


title: Amos 'n' Andy

text: In 1943, after 4,091 episodes, the radio program transformed from a 15-minute CBS weekday dramatic serial to an NBC half-hour weekly comedy. While the five-a-week show often had a quiet, easygoing feeling, the new version was a full-fledged sitcom in the Hollywood sense, with a regular studio audience (for the first time in the show's history) and an orchestra. More outside actors, including many black comedy professionals, such as Eddie Green and James Baskett, were recruited for the cast. Many of the half-hour programs were written by Joe Connelly and Bob Mosher, later the writing team behind "Leave It to Beaver" and "The Munsters". In the new version, Amos became a peripheral character to the duo of Andy and Kingfish, although Amos was still featured in the traditional Christmas show, which also became a part of the later television series. The later radio program and the TV version were advanced for the time, depicting blacks in a variety of roles, including those of successful business owners and managers, professionals and public officials, in addition to the comic characters at the show's core. It anticipated and informed many later comedies featuring working-class characters (both black and white), including "The Honeymooners", "All in the Family" and "Sanford and Son."


title: Amos 'n' Andy

text: By the fall of 1948, the show was airing on CBS again. In that same year, Correll and Gosden sold all rights to "Amos 'n' Andy" to CBS for a reported $2.5 million.


title: Amos 'n' Andy

text: The theme song for both the radio and TV versions is "The Perfect Song" by Joseph Carl Breil, who had written the score from which the song is taken for the silent film "The Birth of a Nation" (1915).


title: Amos 'n' Andy

text: Advertising pioneer Albert Lasker often took credit for having created the show as a promotional vehicle. After the associations with Pepsodent toothpaste (1929–37) and Campbell's Soup (1937–43), primary sponsors included Lever Brothers's Rinso detergent (1943–50); the Rexall drugstore chain (1950–54); and CBS's own brand of television sets (1954–55). President Calvin Coolidge was said to be among the show's most devoted listeners. Huey P. Long took his nickname, "Kingfish", from the show. At the peak of its popularity, many movie theaters stopped their featured films for the 15 minutes of the "Amos 'n' Andy" show, playing the program through the theater's sound system or from a radio on the stage before resuming their film. When some theaters began advertising this practice, NBC charged the theaters with copyright infringement, claiming that charging admission for a free broadcast was illegal.


title: Amos 'n' Andy

text: The first sustained protest against the program found its inspiration in the December 1930 issue of "Abbott's Monthly", when Bishop W. J. Walls of the African Methodist Episcopal Zion Church wrote an article sharply denouncing "Amos 'n' Andy" for its lower-class characterizations and "crude, repetitious, and moronic" dialogue. The "Pittsburgh Courier" was the second largest African-American newspaper at the time, and publisher Robert L. Vann expanded Walls' criticism into a full-fledged protest during a six-month period in 1931. As part of Vann's campaign, more than 700,000 African-Americans petitioned the Federal Radio Commission to complain about the racist stereotyping on the show.


title: Amos 'n' Andy

text: Historian James N. Gregory writes that the program "became the subject of heated conflict within African American communities" and that, while the "Pittsburgh Courier" campaigned against the program, "the "Chicago Defender" lauded the show's wholesome themes and good-natured humor," going "so far as to feature Gosden and Correll at its annual community parade and picnic in 1931."


title: Amos 'n' Andy

text: In 1930, RKO Radio Pictures brought Gosden and Correll to Hollywood to appear in an Amos 'n' Andy feature film, "Check and Double Check" (a catchphrase from the radio show). The cast included a mix of white and black performers (the latter including Duke Ellington and his orchestra) with Gosden and Correll playing Amos 'n' Andy in blackface. The film pleased neither critics nor Gosden and Correll, but briefly became RKO's biggest box-office hit before "King Kong" (1933).


title: Amos 'n' Andy

text: Audiences were curious to see what their radio favorites looked like and were expecting to see African Americans instead of white men in blackface. RKO ruled out any plans for a sequel. Gosden and Correll did lend their voices to a pair of "Amos 'n' Andy" cartoon shorts produced by the Van Beuren Studios in 1934, "The Rasslin' Match" and "The Lion Tamer". These were also not successful. Years later, Gosden was quoted as calling "Check and Double Check" "just about the worst movie ever." Gosden and Correll also posed for publicity pictures in blackface. They were also stars of "The Big Broadcast of 1936" as Amos 'n' Andy.


title: Amos 'n' Andy

text: Hoping to bring the show to television as early as 1946, Gosden and Correll searched for cast members for four years before filming began. CBS hired the duo as producers of the new television show. According to a 1950 newspaper story, Gosden and Correll had initial aspirations to voice the characters Amos, Andy and Kingfish for television while the actors hired for these roles performed and apparently were to lip-sync the story lines. A year later, both spoke about how they realized they were visually unsuited to play the television roles, citing difficulties with making the "Check and Double Check" film. No further mention was made about Gosden and Correll continuing to voice the key male roles in the television series. Corell and Gosden did record the lines of the main male characters to serve as a guideline for the television show dialogue at one point. In 1951, the men targeted 1953 for their retirement from broadcasting; there was speculation that their radio roles might be turned over to black actors at that time.


title: Amos 'n' Andy

text: Adapted to television, "The Amos 'n Andy Show" was produced from June 1951 to April 1953 with 52 filmed episodes, sponsored by the Blatz Brewing Company. The television series used black actors in the main roles, although the actors were instructed to keep their voices and speech patterns close to those of Gosden and Correll. Produced at the Hal Roach Studios for CBS, the show was among the first television series to be filmed with a multicamera setup, four months before "I Love Lucy" used the technique. The series' theme song was based on the radio show's "The Perfect Song" but became Gaetano Braga's "Angel's Serenade", performed by The Jeff Alexander Chorus. The program debuted on June 28, 1951.


title: Amos 'n' Andy

text: This time, the NAACP mounted a formal protest almost as soon as the television version began, describing the show as "a gross libel of the Negro and distortion of the truth".


title: Amos 'n' Andy

text: In 1951 it released a bulletin on “Why the ‘Amos ‘n’ Andy’ TV Show Should Be Taken Off the Air.” It stated that the show “tends to strengthen the conclusion among uninformed and prejudiced people that Negroes are inferior, lazy, dumb, and dishonest, ... Every character” is “either a clown or a crook”; “Negro doctors are shown as quacks and thieves”; “Negro lawyers are shown as slippery cowards”; “Negro women are shown as cackling, screaming shrews”; “All Negroes are shown as dodging work of any kind”; and “Millions of white Americans see this ‘Amos ‘n’ Andy’ picture of Negroes and think the entire race is the same.”


title: Amos 'n' Andy

text: That pressure was considered a primary factor in the show's cancellation, even though it finished at #13 in the 1951–1952 Nielsen ratings and at #25 in 1952–1953 Blatz was targeted as well, finally discontinuing its advertising support in June 1953. It has been suggested that CBS erred in premiering the show at the same time as the 1951 NAACP national convention, perhaps increasing the objections to it. The show was widely repeated in syndicated reruns until 1966 when, in an unprecedented action for network television at that time, CBS finally gave in to pressure from the NAACP and the growing civil rights movement and withdrew the program. It was pulled from the Australian Broadcasting Corporation's television network, which had been broadcasting it for almost a decade. The series was not be seen on American television regularly for 46 more years. The television show has been available in bootleg VHS and DVD sets, which generally include up to 71 of the 78 known TV episodes.


title: Amos 'n' Andy

text: When the show was canceled, 65 episodes had been produced. The last 13 of these episodes were intended to be shown on CBS during the 1953–54 season but were released with the syndicated reruns instead. An additional 13 episodes were produced for 1954–55 to be added to the syndicated rerun package. These episodes were focused on Kingfish, with little participation from Amos or Andy, because these episodes were to be titled "The Adventures of Kingfish" (though they ultimately premiered under the "Amos 'n' Andy" title.) The additional episodes first aired on January 4, 1955. Plans were made for a vaudeville act based on the television program in August 1953, with Tim Moore, Alvin Childress and Spencer Williams playing the same roles. It is not known whether there were any performances. Still eager for television success, Gosden, Correll and CBS made initial efforts to give the series another try. The plan was to begin televising "Amos 'n' Andy" in the fall of 1956, with both of its creators appearing on television in a split screen with the proposed black cast.


title: Amos 'n' Andy

text: A group of cast members began a "TV Stars of "Amos 'n' Andy"" cross-country tour in 1956, which was halted by CBS; the network considered it an infringement of their exclusive rights to the show and its characters. Following the threatened legal action that brought the 1956 tour to an end, Moore, Childress, Williams and Lee were able to perform in character for at least one night in 1957 in Windsor, Ontario.


title: Amos 'n' Andy

text: In the summer of 1968, the premiere episode of the CBS News documentary series "Of Black America", narrated by Bill Cosby, showed brief film clips of "Amos 'n' Andy" in a segment on racial stereotypes in vintage motion pictures and television programing.


title: Amos 'n' Andy

text: In 1983, a one-hour documentary film titled "Amos 'n' Andy: Anatomy of a Controversy" aired in television syndication (and in later years, on PBS and on the Internet). It told a brief history of the franchise from its radio days to the CBS series, and featured interviews with surviving cast members as well as popular black television stars such as Redd Foxx and Marla Gibbs, who reflected on the show's impact on their careers. Foxx and Gibbs emphasized the importance of the show featuring black actors in lead roles and expressed disagreement with the NAACP's objections that had contributed to the program's downfall. The film also contained highlights of a select episode of the classic TV series ("Kingfish Buys a Lot") that had not been seen since it was pulled from the air in 1966.


title: Amos 'n' Andy

text: In Harvard University professor Henry Louis Gates Jr.'s 2012 "American Heritage" article "Growing Up Colored", he wrote: "And everybody loved "Amos 'n Andy" – I don't care what people say today...Nobody was likely to confuse them with the colored people we knew..."


title: Amos 'n' Andy

text: In 2004, the now-defunct Trio network returned "Amos 'n' Andy" to television for one night in an effort to reintroduce the series to 21st century audiences. Its festival featured the "Anatomy of a Controversy" documentary followed by the 1930 "Check and Double Check" film.


title: Amos 'n' Andy

text: In 2012, Rejoice TV, an independent television and Internet network in Houston, started airing the show weeknights on a regular, nationwide basis for the first time since CBS pulled the series from distribution in 1966. Six years later, Rejoice TV folded, and the series was again pulled from widespread distribution. There are no current official plans to rerelease the series to nationwide television.


title: Amos 'n' Andy

text: Although the characters of Amos and Andy themselves are in the public domain, as well as the show's trademarks, title, format, basic premise and all materials created prior to 1948 ("Silverman vs CBS", 870 F.2d 40), the television series itself is protected by copyright. CBS bought out Gosden & Correll's ownership of the program and characters in 1948 and the courts decided in the "Silverman" ruling that all post-1948 "Amos 'n' Andy" material was protected. All "Amos 'n' Andy" material created prior to 1948, such as episodes of the old radio show, are in the public domain. The television series has never been officially released in home-video format, but many unlicensed bootleg compilations have been sold. In 1998, CBS initiated copyright infringement suits against three companies selling the videos and issued a cease-and-desist order to a national mail-order outfit that had offered episodes on videocassettes and advertised them in late-night television ads during the late 1990s. However, the unlicensed sets continue to be sold. No official, licensed DVD or Blu-ray compilations have been released.


title: Amos 'n' Andy

text: In 1955, the format of the radio show was changed from a weekly to a daily early evening half-hour to include playing recorded music between sketches (with occasional guests appearing), and the series was renamed "The Amos 'n' Andy Music Hall". The final "Amos 'n' Andy" radio show was broadcast on November 25, 1960. Although by the 1950s the popularity of the show was well below its peak of the 1930s, Gosden and Correll had managed to outlast most of the radio shows that came in their wake.


title: Amos 'n' Andy

text: In 1961, Gosden and Correll attempted one last televised effort, albeit in a "disguised" version. They were the voices in a prime-time animated cartoon, "Calvin and the Colonel", featuring anthropomorphic animals whose voices and situations were almost exactly those of Andy and the Kingfish (and adapting several of the original "Amos 'n' Andy" radio scripts). This effort at reviving the series in a way that was intended to be less racially offensive ended after one season on ABC, although it remained quite popular in syndicated reruns in Australia for several years. Connelly and Mosher returned to produce the series and also wrote several episodes.


title: Amos 'n' Andy

text: In 1988, the "Amos 'n' Andy" program was inducted into the Radio Hall of Fame. A pair of parallel, one-block streets in west Dallas, Texas are named Amos Street and Andy Street in honor of the characters.


title: Amos 'n' Andy

text: The short-lived 1996 HBO sitcom "The High Life" was intended in part as an homage to "Amos 'n' Andy", but with white characters.


title: Amos 'n' Andy

text: Blues guitarist Christone "Kingfish" Ingram was given the nickname "Kingfish" after the sitcom by one of his guitar teachers, Bill "Howl -N- Mad" Perry.


title: Amos 'n' Andy

text: Comedian Tim Moore made numerous public appearances and was a guest on television on shows such as "Jack Paar's Tonight Show" and the Paul Coates Show. In 1958, he headlined a standup comedy act at the Mocambo Night Club in Hollywood.


title: Amos 'n' Andy

text: Ernestine Wade (Sapphire) and Lillian Randolph (Madame Queen) appeared together on an episode of "That's My Mama" called "Clifton's Sugar Mama" on October 2, 1974. They were friends of "Mama" played by Theresa Merritt, who wanted to see Clifton played by Clifton Davis (later of TV show "Amen") at the beginning of the episode. Wade played Augusta and Randolph played Mrs. Birdie.


title: Amos 'n' Andy

text: Jester Hairston (who played Henry Van Porter and Leroy Smith) was a regular on both "That's My Mama" as "Wildcat" and on "Amen" as "Rolly Forbes." He was also quite prominent in a brief role as a butler in the racially charged film "In the Heat of the Night" (1967).


title: Amos 'n' Andy

text: Amanda Randolph (Sapphire's mother, Ramona Smith) had a recurring role as Louise the housekeeper on CBS's "The Danny Thomas Show" and appeared in the show's 1967 reunion program, which aired shortly after her death.


title: Amos 'n' Andy

text: Nick Stewart (Lightnin') had a memorable cameo in "It's a Mad, Mad, Mad, Mad World" (1963) as a hapless driver run off the highway. Stewart and Johnny Lee (Calhoun) both provided voices in the Walt Disney film "Song of the South" in 1946. Johnny did the voice of Br'er Rabbit and Nick was heard as Br'er Bear. The film also starred black actor James Baskett, who had voiced the Gabby Gibson character in the radio series.


title: Fuslie

text: Leslie Ann Fu (born November 23, 1992), better known as fuslie, is an American live streamer, YouTuber, content creator, and musician. She is also a content creator for the gaming organization and lifestyle brand 100 Thieves.


title: Fuslie

text: Fu was born on November 23, 1992 to Chinese parents in the San Francisco Bay Area. She attended Homestead High School in Cupertino, California. Fu graduated from the University of California, Irvine in 2014, earning a bachelor's degree in biological sciences. Fu briefly attended graduate school at the University of California, Los Angeles for teaching before dropping out to pursue streaming full-time.


title: Fuslie

text: Fu began streaming on Twitch in February 2015 after being introduced to the activity by her roommates. Before branching out towards a wider variety of games, she primarily streamed "League of Legends". She briefly was a streamer for professional "League of Legends" teams Immortals and Phoenix1.


title: Fuslie

text: In December 2018, Fu, along with fellow Twitch streamer BoxBox, hosted a 4-day streaming boot camp titled "Streamer Camp", an event aimed at improving the skills of up-and-coming Twitch streamers and content creators. A second edition of the event was held in June 2019.


title: Fuslie

text: Fu was one of many streamers affected by the large wave of DMCA takedown notices issued against Twitch in June 2020. After receiving two strikes, Fu criticized the platform's response to the situation saying, "On top of it being near impossible for me to delete 100,000 clips, the creator dashboard isn't loading any of my old clips. How am I supposed to protect myself here? This is an issue way bigger than me. Content creators aren't being informed by Twitch on the proper steps to protect themselves from this happening, and there has to be a better way to handle this than suddenly striking our accounts and banning us out of nowhere"


title: Fuslie

text: In June 2020, Fu participated in a Chess.com tournament for Twitch streamers titled PogChamps. She made it to the quarterfinals of the consolation bracket, where she lost to fellow streamer xQc. Fu would later be one of over 40 streamers featured on the cover of the August 2020 edition of Chess Life.


title: Fuslie

text: On May 12, 2021, Fu announced that she joined lifestyle brand and gaming organization 100 Thieves as a content creator.


title: Fuslie

text: On August 12, 2021, Fu starred in the music video for Sub Urban and Bella Poarch's song, "Inferno". She also participated in a stream promoting the video. That same day, she hit 1 million followers on Twitch.


title: Fuslie

text: On September 6, 2022, Fu announced that she would be leaving Twitch for an exclusive streaming contract on YouTube.


title: Fuslie

text: In March 2019, Fu partnered with the North America Scholastic Esports Federation (NASEF) and the Anaheim Ducks hockey team in holding an "NHL 19" tournament. The tournament gave away over $25,000 in scholarships and grants to high school students. Fu has also spoken to NASEF voicing her support for women in gaming.


title: Fuslie

text: On December 2, 2019, Fu held a charity fundraiser stream benefitting Stand Up to Cancer. Fu and her viewers raised over $30,000 for cancer research.


title: Fuslie

text: On October 19, 2021, Fu in collaboration with 100 Thieves hosted a charity fundraiser streamer for the National Breast Cancer Foundation, raising $55,000.


title: Fuslie

text: Fu dated former OfflineTV manager Edison Park, and the couple became engaged on April 7, 2019 before announcing their split in September 2021.


title: The Closer (2021 film)

text: The Closer is a 2021 American stand-up comedy special written and performed by Dave Chappelle for Netflix. It was directed by Stan Lathan and recorded over the course of seven sold-out performances at The Fillmore Detroit, which ran from August 10 to 15, 2021. "The Closer" is Chappelle's sixth and final special under his 2016 deal with Netflix, with the other five being "Deep in the Heart of Texas", "The Age of Spin", "Equanimity", "The Bird Revelation" and "Sticks & Stones".


title: The Closer (2021 film)

text: The special contains segments that joke about the discrimination against the African-American community relative to the discrimination against the LGBTQ community. The special received a mixed reception from critics while some LGBTQ groups called for the special's removal from the service and some Netflix employees criticized and protested Chappelle's jokes about the transgender community. Netflix CEO Ted Sarandos repeatedly defended the special as freedom of artistic expression.


title: The Closer (2021 film)

text: The special received various award nominations including for two Primetime Emmy Award nominations for Outstanding Variety Special and Directing for a Variety Special.


title: The Closer (2021 film)

text: Chappelle jokes about the COVID-19 pandemic in the United States, mentioning that he took the Johnson & Johnson COVID-19 vaccine and jokes that it was due to its relatively lower efficacy rate. He talks about having contracted COVID-19 and being asymptomatic, comparing himself to Magic Johnson's HIV infection. Chappelle laments that while in quarantine he was concerned about anti-Asian hate, particularly Black on Asian violence.


title: The Closer (2021 film)

text: Chappelle shares his idea for a movie plot, about aliens claiming the earth as they were an ancient civilization who inhabited the earth once, then managed to explore space but after a long period things went terrible for them and they decided to go back and claim the earth... he calls it "space jews"


title: The Closer (2021 film)

text: Chappelle jokes that he has written a series of children's books, similar to "Clifford the Big Red Dog", except it is about a Black man who is shot by police in each installment. He calls the book "Clifford, the Big Black Nigger".


title: The Closer (2021 film)

text: Chappelle jokes about controversy concerning DaBaby, and wonders aloud why the rapper was "canceled" for making disparaging remarks about the LGBTQ community but not for killing a man in a Huntersville, North Carolina Walmart. Chappelle says that someone being gay does not mean they cannot be racist.


title: The Closer (2021 film)

text: Chappelle wonders if someone like Mike Pence is gay himself. He also mentions that older gay men are different than the new generation of LGBTQ people, as the older generation had experienced adversity like Stonewall. Chappelle jokes that he likes the concept of a glory hole, and that it takes a lot of courage to use one. He jokes about Martin Luther King utilizing the glory hole as a method for racial unity.


title: The Closer (2021 film)

text: Chappelle then tells a story about getting into an altercation with a gay man who was videotaping Chappelle at a bar in Austin, Texas. The man called the police on Chappelle, and retorts that "Gay people are minorities, until they need to be White again." Chappelle also relates a story of being in an altercation with a lesbian woman in a separate incident.


title: The Closer (2021 film)

text: Chappelle talks about his narrative with the transgender community, and shares his support of gender-neutral restrooms.


title: The Closer (2021 film)

text: Chappelle tells a story of meeting a transgender woman's mother and later the woman herself at two separate bars in Ohio.


title: The Closer (2021 film)

text: Chappelle discusses the MeToo movement, suggesting hypocrisy amongst celebrities. He also explores the dictionary definition of feminism and by definition defines himself as a feminist. He mentions that J. K. Rowling is considered a "TERF" (trans-exclusionary radical feminist) and says that, since he is a newly appointed feminist, joked that he is "Team TERF". Chappelle jokes about Caitlyn Jenner winning "Woman of the Year" in her first year as a woman, comparing it to if Eminem won an award for "Nigger of the Year".


title: The Closer (2021 film)

text: Chappelle then talks about Twitter, declaring it "not a real place", before finishing with a story about Daphne Dorman, a transgender comedian he had a role in mentoring. Dorman died by suicide after opening for Chappelle during his "Sticks & Stones" tour; Chappelle alleges she experienced online harassment from people in the trans community for defending Chappelle's comedy.


title: The Closer (2021 film)

text: In 2016, Chappelle made a deal to release three stand-up comedy specials on Netflix. The deal was extended to include more specials and "The Closer" marks the sixth and final show in the series. The other shows were "Deep in the Heart of Texas", "The Age of Spin", "Equanimity", "The Bird Revelation", and "Sticks & Stones". "The Closer" was written and performed by Chappelle. It was produced and directed by Stan Lathan who directed Chapelle's previous specials. The special was recorded over the course of seven sold-out performances at the Fillmore in Detroit, which ran from August 10 through August 15, 2021. Originally, the show was to run from August 10 to 12, but three additional dates were added "due to overwhelming demand". In the trailer for the show Chappelle stated, "Comedians have a responsibility to speak recklessly. Sometimes the funniest thing to say is mean. Remember, I'm not saying it to be mean: I'm saying it because it's funny."


title: The Closer (2021 film)

text: The show was dedicated to the memory of comedian Norm Macdonald, who died shortly before its release.


title: The Closer (2021 film)

text: According to leaked documents obtained by Bloomberg News, Netflix paid $24.1 million for "The Closer".


title: The Closer (2021 film)

text: The opening titles feature the song "Tribute" by Black Star. The closing credits feature "I Will Survive" by Gloria Gaynor.


title: The Closer (2021 film)

text: The special was released on October 5, 2021, on Netflix. "The Closer" ranked in seventh place for original content in streaming audience measurements from Nielsen ratings for the week of October 4–10, 2021.


title: The Closer (2021 film)

text: The special received mixed reviews from critics. On Rotten Tomatoes "The Closer" has an approval rating of 40% based on reviews from 10 critics, and an average rating of 6.20 out of 10. Some reviewers pointed out that while the special received poor ratings from professional critics, "The Closer" had a 96% positive audience score on Rotten Tomatoes.


title: The Closer (2021 film)

text: Eric Deggans of NPR, in a negative review thinks Chappelle goes too far, that his jokes treat oppression like a zero-sum game, and "untangling homophobia, transphobia, racism and white privilege requires a lot more effort and understanding than Chappelle makes here."


title: The Closer (2021 film)

text: Dan Di Placido of "Forbes" in a negative review wrote that "The Closer" painted the picture of a declining comedian, saying that Chapelle seems intent on defining himself using the controversy surrounding "Chappelle's habit of mocking the trans community, in a way that the community largely objects to." Di Placido stated that Chapelle's story about Daphne Dorman in the special felt out of place, and called the special "an hour of Chappelle insisting that he is right, and his critics are wrong."


title: The Closer (2021 film)

text: Craig Jenkins of "Vulture" gave it a mixed review, and wrote: "This time, [Chapelle]’s going for the predictable jabs and rehashing takes that were old hat five years ago … He needs new ideas.."


title: The Closer (2021 film)

text: Helen Lewis of "The Atlantic" in a mixed review wrote that "The emotion that defines "The Closer" is not laughter, but anger. Chappelle once delivered his most offensive jokes with a goofy, quizzical, little-lost-boy smile, removing some of their sting, but here the humor feels sour and curdled. The stoner who never gave a shit seems genuinely frustrated and goaded on by social-media pile-ons. An alternative title for the special might be "A Response to My Critics"." She compared Chappelle's special to a Rorschach test, describing his jokes are both funny and offensive, and that he is "entirely right to indict would-be censors for their wild inconsistencies and their capricious attitude to offense."


title: The Closer (2021 film)

text: Jordan Ruimy of World of Reel in a positive review wrote that "amidst all the brouhaha that has happened this last week over Dave Chappelle's latest Netflix special, “The Closer,” there lies a total and utter artistic act of subversive trolling from the comedian. The result is a blend of comedy and commentary that, when all is said and done, might very well define Chappelle's career — and it's not even close to being the funniest thing he's ever done."


title: The Closer (2021 film)

text: Jim Schembri in a positive review wrote "Chappelle presents himself as an unfiltered, unflinching free thinker, fully aware of the controversy he creates and totally unapologetic about it."


title: The Closer (2021 film)

text: Chappelle's jokes about the transgender community were criticized by GLAAD, which said in a statement that "Chappelle's brand has become synonymous with ridiculing trans people." David Johns, the executive director of the National Black Justice Coalition, published a statement saying "[p]erpetuating transphobia perpetuates violence" and asked Netflix to remove "The Closer" from its service.


title: The Closer (2021 film)

text: Reactions to the special by the public were mixed. The "Los Angeles Times" interviewed three LGBTQ comedians, asking for their opinion on "The Closer". Some were in support of Chappelle's artistic freedom as a comedian while others were hurt by the content of the special. Black transgender comedian Flame Monroe was supportive of Chappelle's special.


title: The Closer (2021 film)

text: Some Netflix employees responded negatively to the special. On October 8, 2021, Netflix co-CEO Ted Sarandos defended the special's release in a memo sent to employees saying that "[w]e don't allow titles on Netflix that are designed to incite hate or violence, and we don't believe "The Closer" crosses that line." Following Sarandos' statement, the trans employee resource group at Netflix announced they would be staging a walkout on October 20. After the announcement of the walkout, Sarandos defended the special once again in a company-wide email saying "[w]ith "The Closer", we understand that the concern is not about offensive-to-some content but titles which could increase real world harm (such as further marginalizing already marginalized groups, hate, violence etc.)" and that "[w]hile some employees disagree, we have a strong belief that content on screen doesn't directly translate to real-world harm".


title: The Closer (2021 film)

text: On October 7, at a private screening of his documentary "", Chappelle responded to the controversy saying: "If this is what being canceled is, I love it." At another screening of his documentary, on October 17, Chappelle told the audience "Don't worry about me... I've got enough money to never work again in my life." He also mentioned following the backlash from his special, two screenings of the documentary were cancelled.


title: The Closer (2021 film)

text: On October 19, Sarandos defended the special again as "freedom of speech and creative expression". Before the planned walkout, Netflix issued a company statement encouraging employees to attend the protest without repercussions. On October 20, there was a small employee walkout of between twelve and thirty employees at a Netflix building in Los Angeles.


title: The Closer (2021 film)

text: On October 21, a representative for Chappelle reached out to TMZ saying: "Dave stands by his art: No more jokes about transgenders until we can all laugh together. The streets are talking and Dave is listening. At some point, when everyone is open, I'm sure the communities will come together" and added that Chappelle is open to a conversation with transgender activists if an invitation is extended to him. On October 25, Chappelle released a clip from his stand-up tour where he stated "Do not blame the LGBTQ community for any of this. It's about corporate interests, and what I can say, and what I cannot say."


title: The Closer (2021 film)

text: In the special, Chappelle discussed his friendship with Daphne Dorman, who was an American transgender comedian, actress, and software engineer based in San Francisco. Chappelle mentioned her in his earlier special "Sticks & Stones". She defended Chappelle after the backlash to the special.


title: The Closer (2021 film)

text: Dorman committed suicide in October 2019, and she was survived by her daughter. Dorman's family defended "The Closer". Her sister said of Chappelle: "Dave loved my sister and is an LGBTQ ally." Chappelle has set up a college fund for Dorman's daughter.


title: The Closer (2021 film)

text: Bloomberg News reported that Chappelle's content "prompted leaks unprecedented in the company's history" by employees and insiders. Netflix does not share metrics associated with numbers of viewers or profitability of individual content. Three employees were suspended for attending a quarterly business report meeting uninvited which was restricted to director-level employees.


title: The Closer (2021 film)

text: On October 15, Netflix fired employee B. Pagels-Minor for leaking nonpublic financial information to Bloomberg News. The same employee was reportedly responsible for organizing the planned October 20 walkout. A Netflix spokesperson said of the termination: "We understand the employee may have been motivated by disappointment and hurt with Netflix, but maintaining a culture of trust and transparency is core to our company". The information was said to be confidential and commercially sensitive. Pagels-Minor denied that they leaked sensitive information to the press, however Netflix stated that access records indicated "they were the only employee to access detailed, sensitive data on four titles that later appeared in the press." Pagels-Minor and Terra Field filed a complaint with the National Labor Relations Board. The complaint was later dropped after both parties "resolved their differences" but details were not provided.


title: Junglefowl

text: Junglefowl are the only four living species of bird from the genus Gallus in the bird order Galliformes, and occur in parts of South and Southeast Asia. They diverged from their common ancestor about 4–6 million years ago.


title: Junglefowl

text: Although originating in Asia, remains of junglefowl bones have also been found in regions of Chile, which date back to 1321–1407 CE, providing evidence of possible Polynesian migration through the Pacific Ocean.


title: Junglefowl

text: These are large birds, with colourful plumage in males, but are nevertheless difficult to see in the dense vegetation they inhabit.


title: Junglefowl

text: As with many birds in the pheasant family, the male takes no part in the incubation of the egg or rearing of the precocial young. These duties are performed by the drab and well-camouflaged female. Females and males do not form pair bonds; instead, the species has a polygynandrous mating system in which each female will usually mate with several males. Aggressive social hierarchies exist among both females and males, from which the term "pecking order" originates.


title: Junglefowl

text: The junglefowl are omnivorous, eating a variety of leaves, plant matter, invertebrates such as slugs and insects, and occasionally small mice and frogs.


title: Junglefowl

text: One of the species in this genus, the red junglefowl, is of historical importance as the ancestor of the chicken, the only domesticated species. Although the grey junglefowl, Sri Lankan junglefowl and green junglefowl are likely to have also been involved.


title: Junglefowl

text: The genus "Gallus" was erected by the French scientist Mathurin Jacques Brisson in his "Ornithologie" published in 1760. The type species is the red junglefowl ("Gallus gallus"). The Swedish naturalist Carl Linnaeus had introduced the genus "Gallus" in the 6th edition of his "Systema Naturae" published in 1748, but Linnaeus dropped the genus in the important tenth edition of 1758 and put the red junglefowl together with the common pheasant in the genus "Phasianus". However, the red junglefowl and common pheasant are now known to have diverged about 18–23 million years ago, and belong to different subfamilies. This pairwise divergence time was also the same between the other three junglefowls and the pheasant. As the publication date of Linnaeus's sixth edition was before the 1758 starting point of the International Commission on Zoological Nomenclature, Brisson and not Linnaeus is considered as the authority for the genus.


title: Junglefowl

text: More recent phylogenetic evidence supports the closest relatives of "Gallus" being the bamboo partridges in the genus "Bambusicola", from which they diverged about 15 million years ago.


title: Junglefowl

text: Prehistorically, the genus "Gallus" was found all over Eurasia; in fact, it appears to have evolved in southeastern Europe. Several fossil species have been described, but their distinctness is not firmly established in all cases:


title: The Painted Veil (2006 film)

text: The Painted Veil is a 2006 American drama film directed by John Curran. The screenplay by Ron Nyswaner is based on the 1925 novel of the same title by W. Somerset Maugham. Edward Norton, Naomi Watts, Toby Jones, Anthony Wong Chau Sang and Liev Schreiber appear in the leading roles.


title: The Painted Veil (2006 film)

text: This is the third film adaptation of the Maugham book, following a 1934 film starring Greta Garbo and Herbert Marshall and a 1957 version called "The Seventh Sin" with Bill Travers and Eleanor Parker.


title: The Painted Veil (2006 film)

text: On a brief trip to London in the early 1920s, earnest and bookish bacteriologist Walter Fane is dazzled by Kitty Garstin, a London socialite. He proposes; she accepts ("only to get as far away from [her] mother as possible"), and the couple honeymoon in Venice. They travel to Walter's medical post in Shanghai, where he is stationed in a government lab studying infectious diseases. They are ill-suited, with Kitty much more interested in parties and the social life of the British expatriate community.


title: The Painted Veil (2006 film)

text: She meets Charles Townsend, a married British vice consul, and they have an affair. When Walter finds out, he threatens divorce for adultery unless she accompanies him to a village in a remote area of China where he has volunteered to treat victims of an unchecked cholera epidemic. Kitty begs for a quiet divorce, which he initially refuses, but later says only if Townsend will leave his wife Dorothy to marry her. Charles declines to accept, despite earlier claiming his love for Kitty.


title: The Painted Veil (2006 film)

text: The couple embark upon an arduous, two-week-long overland journey to the mountainous inland region, which is considerably faster and much easier if they traveled by river, but Walter is determined to make Kitty as uncomfortable as possible. Upon their arrival in Mei-tan-fu, she discovers they will be living in near-squalor, far removed from the town. Their cheerful neighbor Waddington is a British deputy commissioner living in relative opulence with Wan Xi, a young Chinese woman.


title: The Painted Veil (2006 film)

text: Walter and Kitty barely speak. Except for a cook and a Chinese soldier assigned to guard her during unrest due to the Chinese civil war, she is alone for long hours. After visiting an orphanage run by a group of French nuns, Kitty volunteers and she is assigned to work in the music room. She is surprised to learn from the Mother Superior that her husband loves children, especially babies. She begins to see him differently, that he can be unselfish and caring. When he sees her with the children, he also realizes she is not as shallow and selfish as he had thought. Their marriage begins to blossom in the midst of the epidemic. She soon learns she is pregnant, but is unsure who the father is. Walter – in love with Kitty again – assures her it doesn't matter.


title: The Painted Veil (2006 film)

text: The cholera epidemic takes many victims. Just as Walter and the locals are starting to get it under control – due to his creating a system of aqueducts to transport clean water – cholera-carrying refugees from elsewhere arrive in the area, and Walter sets up a camp for them outside town. He contracts the disease and Kitty lovingly nurses him, but he dies, and she is devastated. Bereft and pregnant, she leaves China.


title: The Painted Veil (2006 film)

text: Five years later, Kitty is seen in London, well-dressed and apparently happy, shopping with her young son, Walter. They are picking flowers for their visit to Walter's grandfather. They meet Townsend by chance on the street, and he suggests that Kitty meet with him. Asking young Walter his age, he realizes from the reply that he might be the boy's father.


title: The Painted Veil (2006 film)

text: Kitty rejects his overtures and walks away. When her son asks who Townsend is, she replies: "No one important, darling".


title: The Painted Veil (2006 film)

text: Prior to 1999, producer Sara Colleton sought to develop a script for "The Painted Veil". The script was frequently redrafted, as it was intended both to be close to the source material, and to take liberties with the source material, specifically to create a feminist version. Actor Edward Norton became involved with the project in 1999. Norton discussed why he liked the project,


title: The Painted Veil (2006 film)

text: "It's very much a story about people getting beyond the worst in themselves and figuring out how to look at each other honestly, forgive each other for their failings and get to a better place... When I read it, I was very affected by it because in it I saw my own failings."