document_title: A Jury of Her Peers

question_text: where does a jury of her peers take place

root

text: A Jury of Her Peers

text:
"A Jury of Her Peers"

Author
Susan Glaspell

Country
United States

Language
English

Published in
Every Week Magazine

Publication date
March 5, 1917

Preceded by
"Trifles"

tag: table

text: "A Jury of Her Peers", written in 1917,[1] is a short story by Susan Glaspell, loosely based on the 1900 murder of John Hossack (not the famed abolitionist), which Glaspell covered while working as a journalist [2] for the Des Moines Daily News.[1] It is seen as an example of early feminist literature because two female characters are able to solve a mystery that the male characters cannot. They are aided by their knowledge of women's psychology. Glaspell originally wrote the story as a one-act play entitled Trifles for the Provincetown Players in 1916.[3] The story was adapted into an episode of the 1950s TV series Alfred Hitchcock Presents. The story was adapted into a 30-minute film by Sally Heckel in 1980. The film was nominated for an Academy Award for Best Live Action Short Film.[4]

tag: p

text: Plot summary[edit]

text: "A Jury of Her Peers" is about the discovery of and subsequent investigation of John Wright's murder. The story begins on a cold, windy day in fictional Dickson County (representing Dickinson County, Iowa) with Martha Hale being abruptly called to ride to a crime scene. In the buggy is Lewis Hale, her husband, Sheriff Peters, the county sheriff, and Mrs. Peters, the sheriff's wife. She rushes out to join them in the buggy, and the group sets off. They arrive at the crime scene: the Wrights' lonesome-looking house. Immediately Mrs. Hale exhibits a feeling of guilt for not visiting her friend Minnie Foster since she married and became Mrs. Wright (the dead man's wife) twenty years prior. Once the whole group is safely inside the house, Mr. Hale is asked to describe to the county attorney what he had seen and experienced the day prior. Despite the serious circumstances, he delivers his story in a long-winded and poorly thought-out manner, tendencies he struggles to avoid throughout. The story begins with Mr. Hale venturing to Mr. Wright's house to convince Wright to get a telephone. Upon entering the house, he finds Mrs. Wright in a delirious state and comes to learn that Mr. Wright has allegedly been strangled. The women's curious nature and very peculiar attention to minute details allows them to find evidence of Mrs. Wright's guilt and of her provocations and motives. Meanwhile, the men are unable to procure any evidence. The women find the one usable piece of evidence: the dead bird in the box. It's stated that Minnie used to love to sing and her husband took that away from her. But now finding her bird is dead, with a broken neck (with the implication that the husband killed it) it is evident Mrs. Wright killed her husband. Mrs. Hale and Mrs. Peters use their knowledge and experience as two "midwestern rural women" to understand Mrs. Wright's suffering when the only living thing around her has died.[5] The women find justification in Mrs. Wright’s actions and go about hiding what they find from the men. In the end, their obstruction of evidence will seemingly prevent a conviction. The story ends here, and does not move into the occurrences after they leave the house.


document_title: Amado Carrillo Fuentes

question_text: who is el senor de los cielos based on

question_tokens: who is el senor de los cielos based on

text: Amado Carrillo Fuentes

text: Family relations and alliances[edit]

text: Carrillo was born to Walter Vicente Carrillo Vega and Aurora Fuentes in Guamuchilito, Navolato, Sinaloa, Mexico. He was the first of seven sons; the others were: Cipriano, Enrique B., Vicente, José Cruz, Enrique C., and Jorge. He also had five sisters: María Luisa, Berthila, Flor, Alicia, and Aurora.

text: These children were the nieces and nephews of Ernesto Fonseca Carrillo, a/k/a "Don Neto", the Guadalajara Cartel leader.  Amado got his start in the drug business under the tutelage of his uncle Ernesto and later brought in his brothers, and eventually his son Vicente José Carrillo Leyva.

text: Carrillo's father died in April 1986. Carillo's brother, Cipriano Carrillo Fuentes, died in 1989 under mysterious circumstances.[citation needed]

text: Career[edit]

text: Initially, Carrillo was part of the Guadalajara Cartel, sent to Ojinaga, Chihuahua to oversee the cocaine shipments of his uncle, Ernesto Fonseca Carrillo ("Don Neto"), and to learn about border operations from Pablo Acosta Villarreal ("El Zorro de Ojinaga"; "The Ojinaga Fox") and Rafael Aguilar Guajardo. Later Carrillo worked with Pablo Escobar and the Cali Cartel smuggling drugs from Colombia to Mexico and the United States. He worked with El Chapo Joaquin Guzman Loera, The Arellano Felix family and The Beltran Leyva Organization.[6][7] During his tenure, Carrillo reportedly built a multibillion-dollar drug empire. It was estimated that he may have made over US$25 billion in revenue in his career.[8]

text: Death[edit]

text: The pressure to capture Carrillo intensified among U.S. and Mexican authorities,[when?][why?] and perhaps for this reason, Carrillo underwent facial plastic surgery and abdominal liposuction to change his appearance on July 4, 1997, at Santa Mónica Hospital in Mexico City. However, during the operation, he died of complications apparently caused either by a medication or a malfunctioning respirator. Two of Carrillo's bodyguards were in the operating room during the procedure. On November 7, 1997, the two physicians who performed the surgery on Fuentes were found dead, encased in concrete inside steel drums, with their bodies showing signs of torture.[9]

text: Juárez Cartel after Carrillo[edit]

text: On the night of August 3, 1997, at around 9:30 p.m., four drug traffickers walked into a restaurant in Ciudad Juárez, pulled out their guns, and opened fire on five diners, killing them instantly.[10] Police estimated that more than 100 bullet casings were found at the crime scene. According to a report issued by the Los Angeles Times, four men went to the restaurant carrying at least two AK-47 assault rifles while others stood at the doorstep.[10][11] On their way out, the gunmen claimed another victim:[12] Armando Olague, a prison official and off-duty law enforcement officer, who was gunned down outside the restaurant after he had walked from a nearby bar to investigate the shooting. Reportedly, Olague had run into the restaurant from across the street with a gun in his hand to check out the commotion. It was later determined that Olague was also a known lieutenant of the Juarez cartel.[12] Mexican authorities declined to comment on the motives behind the killing, stating the shootout was not linked to the death of Amado Carrillo Fuentes. Nonetheless, it was later stated that the perpetrators were gunmen of the Tijuana Cartel.[10][13] Although confrontations between narcotraficantes were commonplace in Ciudad Juárez, they rarely occurred in public places. What happened in the restaurant threatened to usher in a new era of border crime in the city.[12]

text: In Ciudad Juárez, the PGR seized warehouses they believed the cartel used to store weapons and cocaine; they also seized over 60 properties all over Mexico belonging to Carrillo, and began an investigation into his dealings with police and government officials. Officials also froze bank accounts amounting to $10 billion belonging to Carrillo.[14]  In April 2009, Mexican authorities arrested Carillo's son, Vicente Carrillo Leyva.[15]

text: Funeral[edit]

text: Carrillo was given a large and expensive funeral in Guamuchilito, Sinaloa. In 2006, Governor Eduardo Bours asked the federal government to tear down Carrillo's mansion in Hermosillo, Sonora.[16] The mansion, dubbed "The Palace of a Thousand and One Nights", although still standing, remains unoccupied.[citation needed]

text: Media portrayals[edit]

text:
In El Chapo, the 2017 Netflix and Univision TV series about the life of Joaquín "El Chapo" Guzmán, Fuentes is portrayed by Rodrigo Abed.
El Señor de los Cielos  (2013), El Señor de los Cielos 2 (2014), El Señor de los Cielos 3 (2015), and El Señor de los Cielos 4, aired as part of Telemundo's nighttime programming, stars the Mexican actor Rafael Amaya as Aurelio Casillas (a fictionalized version of Amado Carrillo Fuentes).[17]
In the Netflix Original series Narcos, Fuentes is portrayed by José María Yazpik.

tag: ul


question_text: who wrote the song one wing from sparkle

text: Background[edit]

text: The songs on the soundtrack are performed by the actors in the film, including Jordin Sparks, Whitney Houston, Cee Lo Green, Carmen Ejogo, Tika Sumpter, and others. Sparkle features songs from the original film written by soul musician Curtis Mayfield as well as new compositions by R&B artist R. Kelly and others.[8][9] The soundtrack includes new songs not present in the 1976 version of Sparkle: "Celebrate", "His Eye is On the Sparrow", among others. "Celebrate" was sent to radio the week of May 21, 2012 as the first official from the Sparkle soundtrack. The song premiered on On Air with Ryan Seacrest on May 21.[3] and was made available for digital download on iTunes on June 5.[4] Houston's other track, "His Eye is On the Sparrow", debuted only one day after the premiere of "Celebrate".[5]

text: Composition[edit]

text: Music and themes[edit]

text: Sparkle: Original Motion Picture Soundtrack takes on matters of the celebration, heartache, heartbreak and seduction with a mixture of ballads, mid- and up-tempos.[10]

text: Release[edit]

text: The Sparkle: Original Motion Picture Soundtrack was released on July 31, 2012; though announced with 13 tracks,[11] it was released with only 11 tracks. Five days before the soundtrack's official release the entire soundtrack was made available to stream exclusively through Sparks' Official store and Essence.com.[12][13] Jordin Sparks, who worked closely with Houston throughout the making of Sparkle, finds the release of the soundtrack to be "bittersweet."[14] Sparks states, "I worked with my idol and that was a dream come true. I used to watch the Cinderella adaptation with her and Brandy every day after school. But she should really be here promoting it with me and [it's] really hard for me to be doing it alone."[14][15]

text: Reception[edit]

text: Critical response[edit]

text: Professional ratingsReview scoresSourceRatingAllmusic[10]Entertainment Weekly(B)[16]Rolling Stone[17]

text:
Allmusic writer Andy Kellman gave it three and a half out of five stars and called the soundtrack "an enjoyable if muddled affair" and commended the four songs covered on the new soundtrack stating "the 2012 soundtrack features faithful and decent covers of four songs from the original.[10] When it comes to "Something He Can Feel," it would be an understatement to say that the deck is stacked against Sparks and her vocal partners, Carmen Ejogo and Tika Sumpter." Entertainment Weekly's Melissa Maerz gave Sparkle: Original Motion Picture Soundtrack a B rating and praised Sparks version of "Look Into Your Heart" stating "Sparks bellows Mayfield's power ballad Look Into Your Heart with absolute conviction.[16]
Jody Rosen of Rolling Stone gave the soundtrack 3½ of 5 stars, commenting that "Sparkle revives four soul chestnuts and includes three originals written and produced by R. Kelly. It's the second-most-satisfying retro-soul album of the year – after Kelly's Write Me Back"; however, he was ambivalent towards Houston's last two recordings before her passing, saying that, "Celebrate is forgettable disco-pop, and on the gospel standard "His Eye Is on the Sparrow" Houston sings – and croaks – in a voice octaves lower than in her prime. At times the song has a ravaged magnificence, but mostly it's painful."[18]

text: Chart performance[edit]

text: For the week ending August 18, 2012 the soundtrack debuted on the Billboard 200 at # 26, # 7 on the Billboard R&B/Hip-Hop Albums and # 1 on the Billboard Top Soundtracks Albums, selling 12,000 copies in its first week. To date, the soundtrack has sold 86,000 copies.[19]

text: Singles[edit]

text: "Celebrate" is the first official single from the soundtrack. It is the last song recorded by Whitney Houston before she died on February 11, 2012, a duet featuring her and R&B/pop singer Jordin Sparks. It was officially released on June 5, 2012 for digital download and it was written by R. Kelly who also produced the track. For the week June 16, 2012, "Celebrate" debuted at number 34 on the US Adult R&B Airplay chart, having amassed 45 spins for that week ending.[20] During that same week, "Celebrate" also debuted at number 84 on the US Hot R&B/Hip-Hop Songs chart,[21] and has since peaked at number 54.[22] The music video for "Celebrate" was filmed on May 30, 2012.[6] A preview of the video premiered on Entertainment Tonight on June 4, 2012.[23] The music video made its world premiere on BET's 106 & Park on June 27, 2012.[7]

text: "His Eye Is on the Sparrow" is the second official single from the soundtrack. The song is a gospel hymn performed by Whitney Houston. Houston is seen performing the song in a church scene in the film trailer. The song was officially released on June 8, 2012 for digital download from Amazon[24] and iTunes. The song was originally written in 1905 by lyricist Civilla D. Martin and composer Charles H. Gabriel. The song is most associated with actress-singer Ethel Waters who used the title for her autobiography.[25]

text: Track listing[edit]

text: See "Performers" section below for credited singers on each track. Credits adapted from Sparkle: Original Motion Picture Soundtrack liner notes.[26]

text: No.TitleWriter(s)Producer(s)Length1."I'm a Man" (Cee Lo Green)Thomas DeCarlo Callaway, Kevin Risto, Waynne Nugent, Charlie GambettaThe MIDI Mafia3:092."Yes I Do" (Carmen Ejogo)Guordan Banks, Warren Felder, Andrew WanselOak3:143."Running" (Goapele)Charles Harmon, Claude KellyChuck Harmony, Claude Kelly3:164."Jump" (Carmen Ejogo, Jordin Sparks and Tika Sumpter)Curtis MayfieldPop Wansel, Oak, Ronald "Flippa" Colson*2:285."Hooked on Your Love" (Carmen Ejogo, Jordin Sparks and Tika Sumpter)Curtis MayfieldPop Wansel, Ronald "Flippa" Colson*, Jameel Roberts*4:096."Something He Can Feel" (Carmen Ejogo, Jordin Sparks and Tika Sumpter)Curtis MayfieldR. Kelly, Bigg Makk3:287."His Eye Is on the Sparrow" (Whitney Houston)Civilla D. Martin, Charles H. GabrielR. Kelly, The Underdogs3:328."Look into Your Heart" (Jordin Sparks)Curtis MayfieldOak2:269."One Wing" (Jordin Sparks)R. KellyR. Kelly, Bigg Makk4:1510."Love Will" (Jordin Sparks)R. KellyR. Kelly3:1211."Celebrate" (Whitney Houston and Jordin Sparks)R. KellyR. Kelly3:36Total length:36:45

text: (*) donates as co-producer

text: Charts[edit]

text:
Chart (2012)

Peakposition [27]

U.S. Billboard 200

21

U.S. Billboard R&B/Hip-Hop Albums

3

U.S. Billboard Soundtracks

1

text: Credits and personnel[edit]

text: Adapted from allmusic.com.[1]

text:
Debra Martin Chase – Executive Producer
T.D. Jakes – Executive Producer
Erwin Gorostiza – Art Direction, Design
Donnie Meadows – Production Coordination
Carlos Taylor 	– Production Coordination

Mara Brock Akil – Executive Producer
Salim Akil – Executive Producer
Trina Bowman – Production Coordination
Tanisha Broadwater – PProduction Coordination

text:
Jordin Sparks – Primary Artist
Whitney Houston – Primary Artist
Cee Lo Green – Primary Artist
Olga Konospelsky – Background Vocals
Emma Kummrow – Background Vocals
Charles Parker – Background Vocals

Tika Sumpter – Primary Artist
Carmen Ejogo – Primary Artist
Goapele – Primary Artist
R. Kelly - Additional Vocals
The Rumor – Background Vocals
Voices of Praise – Background Vocals
Eliza Cho – Background Vocals

text:
Bigg Makk – Arranger, Bass, Keyboards, Producer
R. Kelly – Arranger, Composer, Keyboards, Mixing, Producer
David Boyd – Assistant
Michael Daley – Assistant
Trehy Harris – Assistant
Dabling Harward – Assistant
James Jones III – Bass
Ray Nesmith – Bass
Matt Taylor – Bass
Maria C. Ward – Cello
Joan Collaso – Choir/Chorus
Yvonne Gage – Choir/Chorus
Pastor Chris Harris – Choir/Chorus
Mike Harvey – Choir/Chorus
Jeff Morrow – Choir/Chorus
Lauren Pilot Morrow – Choir/Chorus
Robin Robinson – Choir/Chorus
Claude Kelly – Composer, Producer, Vocal Producer
Guordan Banks – Composer, Vocals
Thomas DeCarlo Callaway – Composer
Warren Felder – Composer
Charles Gabriel – Composer
Charlie Gambetta – Composer
Charles Harmon – Composer
Curtis Mayfield – Composer
Waynne Nugent – Composer
Kevin Risto – Composer
Andrew Wansel – Composer
Autoro "Toro" Whitfield – Drums, Engineer, Piano
Margis Miles – Drums
Abel Garibaldi – Engineer, Programming
Andrew Hey – Engineer, Vocal Engineer
The MIDI Mafia – Engineer, Producer
Ian Mereness – Engineer, Programming
Benjamin Adamson – Engineer

Mike "TrakGuru" Johnson – Engineer
Craig White – Engineer
Joel Geddis – Guitar
Donnie Lyle – Guitar
Andrew Meixner – Guitar
Ben Oniel – Guitar
Mark Strowbridge – Guitar
Harry Wilson – Guitar
Dexter Wansel – Horn Arrangements, String Arrangements
The Regiment – Horn
Kenneth Crouch	– Keyboards, Organ
Rodney East – Keyboards
Herb Powers, Jr. – Mastering
Phil Seaford – Mixing Assistant
Dirty Swift – Mixing, Programming
Harvey Mason, Jr. – Mixing, Vocal Producer
Kevin "KD" Davis – Mixing
Serban Ghenea – Mixing
John Hanes – Mixing
Jaycen Joshua – Mixing
Spring Aspers – Music Supervisor
Kier Lehman – Music Supervisor
Chuck Harmony – Musician, Producer, Vocal Producer
The Underdogs – Musician, Producer
Jameel Roberts	– Organ, Producer
Ronald "Flippa" Colson @Flippa123 – Producer
Pop Wansel – Producer
Bruce Waynne – Programming
Ron Kerber – Saxophone
Hitomi Oba – Saxophone
Paul Arbogast – Trombone
Michael Jorosz	– Trumpet
Tom Terrell – Trumpet
Nina Cottman – Viola
Ruth S. Fraizier – Viola

text: Release history[edit]

text:
List of radio and release dates with formats and record labels

Region

Release date

Format

Label

Australia[28]

July 27, 2012

CD, digital download

RCA Records

Belgium[29]

Denmark[30]

Finland[31]

France[32]

Japan[33]

Netherlands[34]

New Zealand[35]

Norway[36]

Sweden[37]

United States[38]

July 31, 2012

Canada[39]

Mexico[40]


document_title: Matthew 5:30

question_text: bible verse if your hand causes you sin cut off

text: Matthew 5:30

text: Matthew 5:30 is the thirtieth verse of the fifth chapter of the Gospel of Matthew in the New Testament and is part of the Sermon on the Mount. Part of the section on adultery, it is very similar to the previous verse, but with the hand mentioned instead of the eye. For a discussion of the radicalism of these verses see Matthew 5:29. Jesus had stated that looking at a woman in lust is equal to the act of adultery itself and in this verse he recommends cutting off one's hand to prevent sinning.

text: In the King James Version of the Bible the text reads:

text: The World English Bible translates the passage as:

text: For a collection of other versions see BibRef Matthew 5:30

text: The link between the right hand and the discussion of adultery is somewhat unclear. In Jewish writings of the time it was common to have a foot, hand, eye triple structure. This full triple structure is seen in the similar discussions at Mark 9:43-47, and a version much closer to that in Mark appears at Matthew 18:8-9. Jesus here uses two thirds of the structure, the first reference to the eye is clearly linked to his previous statement that looking at a woman lustfully is sinful, but it is uncertain why he continues to the hand when he specifically stated that action and touching is not required for sin. Hill feels that this might be related to theft. At the time the law saw adultery as a form of theft, as it was taking another man's wife. The right hand, the more active of the two among most of the population, had long been metaphorically associated with theft. An alternate view, that has been adopted by some in recent years, is that the mention of a hand linked to lust is a reference to masturbation. In the New Testament this is the verse most often cited to condemn that practice. A third view is to see this verse connected less to the previous verses, and more as part of the discussion of divorce that takes up the next two verses. This argument states that the cutting off of the sinful hand is a metaphor for separation from a sinful spouse, even if it causes great pain.


document_title: Slender Man

question_text: when did the first slender game come out

text: Slender Man

text: Origin

text: The Slender Man was created on June 10, 2009, on a thread in the Something Awful Internet forum.[5][6] The thread was a Photoshop contest in which users were challenged to "create paranormal images."[7][8] Forum poster Eric Knudsen, under the pseudonym "Victor Surge",[9] contributed two black-and-white images of groups of children to which he added a tall, thin, spectral figure wearing a black suit.[10][11] Although previous entries had consisted solely of photographs, Surge supplemented his submission with snatches of text—supposedly from witnesses—describing the abductions of the groups of children and giving the character the name "The Slender Man":

text: The quote under the first photograph read:

text: We didn't want to go, we didn't want to kill them, but its persistent silence and outstretched arms horrified and comforted us at the same time…

text: The quote under the second photograph read:

text: One of two recovered photographs from the Stirling City Library blaze. Notable for being taken the day which fourteen children vanished and for what is referred to as “The Slender Man”. Deformities cited as film defects by officials. Fire at library occurred one week later. Actual photograph confiscated as evidence.

text: These additions effectively transformed the photographs into a work of fiction. Subsequent posters expanded upon the character, adding their own visual or textual contributions.[10][11]

text: Knudsen was inspired to create the Slender Man primarily by Zack Parsons' "That Insidious Beast", Stephen King's The Mist, reports of shadow people, Mothman and the Mad Gasser of Mattoon.[12] Other inspirations for the character were the Tall Man from the 1979 film Phantasm,[13] H. P. Lovecraft, the surrealist work of William S. Burroughs, and the survival horror video games Silent Hill and Resident Evil.[14] Knudsen's intention was "to formulate something whose motivations can barely be comprehended, and [which caused] unease and terror in a general population."[15] Other pre-existing fictional or legendary creatures which are similar to the Slender Man include: the Gentlemen, black-suited, pale, bald demons from the Buffy the Vampire Slayer episode "Hush"; Men in black, many accounts of which grant them an uncanny appearance with an unnatural walk and "oriental" features; and The Question, a DC Comics superhero with a blank face, whose secret identity is "Victor Sage", a name similar to Knudsen's alias "Victor Surge".[13]

text: In her book, Folklore, Horror Stories, and the Slender Man: The Development of an Internet Mythology, Professor Shira Chess of the University of Georgia connected the Slender Man to ancient folklore about fairies. Like fairies, Slender Man is otherworldly, with motives that are often difficult to grasp; like fairies, his appearance is vague and often shifts to reflect what the viewer wants or fears to see, and, like fairies, the Slender Man calls the woods and wild places his home and kidnaps children.[13][page needed]

text: Development

text: The Slender Man soon went viral,[16] spawning numerous works of fanart, cosplay, and online fiction known as "creepypasta"—scary stories told in short snatches of easily copyable text that spread from site to site. Divorced from its original creator, the Slender Man became the subject of myriad stories by multiple authors within an overarching mythos.[3]

text: Many aspects of the Slender Man mythos first appeared on the original Something Awful thread. One of the earliest additions was added by a forum user named "Thoreau-Up", who created a folklore story set in 16th-century Germany involving a character called Der Groẞman, which was implied to be an early reference to the Slender Man.[13]:36 The first video series involving the Slender Man evolved from a post on the Something Awful thread by user "ce gars". It tells of a fictional film school friend named Alex Kralie, who had stumbled upon something troubling while shooting his first feature-length project, Marble Hornets. The video series, published in found footage style on YouTube, forms an alternate reality game describing the filmers' fictional experiences with the Slender Man. The ARG also incorporates a Twitter feed and an alternate YouTube channel created by a user named "totheark".[2][17] As of 2013, Marble Hornets had over 250,000 subscribers around the world and had received 55 million views.[18] Other Slender Man-themed YouTube serials followed, including EverymanHYBRID and TribeTwelve.[2]

text: In 2012, the Slender Man was adapted into a video game titled Slender: The Eight Pages; within its first month of release, the game was downloaded over 2 million times.[19] Several popular variants of the game followed, including Slenderman's Shadow[20] and Slender Man for iOS, which became the second most-popular app download.[21] The sequel to Slender: The Eight Pages, Slender: The Arrival, was released in 2013.[22] Several independent films about the Slender Man have been released or are in development, including Entity[23] and The Slender Man, released free online after a $10,000 Kickstarter campaign.[24] In 2013, it was announced that Marble Hornets would become a feature film.[18] In 2015, the film adaptation, Always Watching: A Marble Hornets Story, was released on VOD, where the character was portrayed by Doug Jones.[25] In 2016, Sony Pictures subsidiary Screen Gems partnered with Mythology Entertainment to bring a Slender Man film into theatres, with the title character portrayed by Javier Botet.[26]

text: Description

text: Because the Slender Man's fictional "mythology" has evolved without an official "canon" for reference, his appearance, motives, habits, and abilities are not fixed but change depending on the storyteller.[27] He is most commonly described as very tall and thin with unnaturally long, tentacle-like arms (or merely tentacles),[3] which he can extend to intimidate or capture prey. In most stories his face is white and featureless, but occasionally his face appears differently to anyone who sees it.[27] He appears to be wearing a dark suit and tie. The Slender Man is often associated with the forest and/or abandoned locations and has the ability to teleport.[28][29] Proximity to the Slender Man is often said to trigger a "Slender sickness"; a rapid onset of paranoia, nightmares and delusions accompanied by nosebleeds.[30]

text: Early stories featured him targeting children or young adults. Some featured young adults driven insane or to act on his behalf, while others did not, and others claim that investigating the Slender Man will draw his attention.[13][page needed] The web series Marble Hornets established the idea of proxies (humans who fall under the Slender Man's influence) though initially they were simply violently insane, rather than puppets of the Slender Man. Marble Hornets also introduced the idea that the Slender Man could interfere with video and audio recordings, as well as the "Slender Man symbol", which became a common trope of Slender fiction.[13][page needed] Graphic violence and body horror are uncommon in the Slender Man mythos, with many narratives choosing to leave the fate of his victims obscure.[13][page needed] Shira Chess notes that "It is important to note that few of the retellings identify exactly what kind of monster the Slender Man might be, and what his specific intentions are- these points all remain mysteriously and usefully vague."[27]

text: As folklore

text: Several scholars have argued that, despite being a fictional work with an identifiable origin point, the Slender Man represents a form of digital folklore. Shira Chess argues that the Slender Man exemplifies the similarities between traditional folklore and the open source ethos of the Internet, and that, unlike those of traditional monsters such as vampires and werewolves, the fact that the Slender Man's mythos can be tracked and signposted offers a powerful insight into how myth and folklore form.[10] Chess identifies three aspects of the Slender Man mythos that tie it to folklore: collectivity (meaning that it is created by a collective, rather than a single individual), variability (meaning that the story changes depending on the teller), and performance (meaning that the storyteller's narrative changes to reflect the responses of his/her audience).[13][page needed]

text: Andrew Peck also considers the Slender Man to be an authentic form of folklore and notes its similarity to emergent forms of offline legend performance. Peck suggests that digital folklore performance extends the dynamics of face-to-face performance in several notable ways, such as by occurring asynchronously, encouraging imitation and personalization while also allowing perfect replication, combining elements of oral, written, and visual communication, and generating shared expectations for performance that enact group identity despite the lack of a physically present group. He concludes that the Slender Man represents a digital legend cycle that combines the generic conventions and emergent qualities of oral and visual performance with the collaborative potential of networked communication.[31]

text: Jeff Tolbert also accepts the Slender Man as folkloric and suggests it represents a process he calls “reverse ostension.” Ostension in folkloristics is the process of acting out a folk narrative. According to Tolbert, the Slender Man does the opposite by creating a set of folklore-like narratives where none existed before. It is an iconic figure produced through a collective effort and deliberately modeled after an existing and familiar folklore genre. According to Tolbert, this represents two processes in one: it involves the creation of new objects and new disconnected examples of experience, and it involves the combination of these elements into a body of “traditional” narratives, modeled on existing folklore (but not wholly indebted to any specific tradition).[32]

text: Professor Thomas Pettitt of the University of Southern Denmark has described the Slender Man as being an exemplar of the modern age's closing of the "Gutenberg Parenthesis"; the time period from the invention of the printing press to the spread of the web in which stories and information were codified in discrete media, to a return to the older, more primal forms of storytelling, exemplified by oral tradition and campfire tales, in which the same story can be retold, reinterpreted and recast by different tellers, expanding and evolving with time.[28]

text: Reasons for success

text: Media scholar and folklorist Andrew Peck attributes the success of the Slender Man to its highly collaborative nature. Because the character and its motives are shrouded in mystery, users can easily adapt existing Slender Man tropes and imagery to create new stories. This ability for users to tap into the ideas of others while also supplying their own helped inspire the collaborative culture that arose surrounding the Slender Man. Instead of privileging the choices of certain creators as canonical, this collaborative culture informally locates ownership of the creature across the community. In these respects, the Slender Man is similar to campfire stories or urban legends, and the character's success comes from enabling both social interaction and personal acts of creative expression.[31]

text: Although nearly all users understand that the Slender Man is not real, they suspend that disbelief in order to become more engrossed when telling or listening to stories.[32] This adds a sense of authenticity to Slender Man legend performances and blurs the lines between legend and reality, keeping the creature as an object of legend dialectic.[33] This ambiguity has led some to some confusion over the character's origin and purpose. Only five months after his creation, George Noory's Coast to Coast AM, a radio call-in show devoted to the paranormal and conspiracy theories, began receiving callers asking about the Slender Man.[34] Two years later, an article in the Minneapolis Star Tribune described his origins as "difficult to pinpoint."[27] Eric Knudsen has commented that many people, despite understanding that the Slender Man was created on the Something Awful forums, still entertain the possibility that he might be real.[28]

text: Shira Chess describes the Slender Man as a metaphor for "helplessness, power differentials, and anonymous forces."[27] Peck sees parallels between the Slender Man and common anxieties about the digital age, such as feelings of constant connectedness and unknown third-party observation.[31] Similarly, Tye Van Horn, a writer for The Elm, has suggested that the Slender Man represents modern fear of the unknown; in an age flooded with information, people have become so unaccustomed to ignorance that they now fear what they cannot understand.[35] Troy Wagner, the creator of Marble Hornets, ascribes the terror of the Slender Man to its malleability; people can shape it into whatever frightens them most.[28] Tina Marie Boyer noted that "The Slender man is a prohibitive monster, but the cultural boundaries he guards are not clear. Victims do not know when they have violated or crossed them."[13][page needed]

text: Copyright

text: Despite his folkloric qualities, the Slender Man is not in the public domain. Several for-profit ventures involving the Slender Man have unequivocally acknowledged Knudsen as the creator of this fictional character, while others were civilly blocked from distribution (including the Kickstarter-funded film) after legal complaints from Knudsen and other sources. Though Knudsen himself has given his personal blessing to a number of Slender Man-related projects, the issue is complicated by the fact that, while he is the character's creator, a third party holds the options to any adaptations into other media, including film and television. The identity of this option holder has not been made public.[9] Knudsen himself has argued that his enforcement of copyright has less to do with money than with artistic integrity: "I just want something amazing to come off it... something that's scary and disturbing and kinda different. I would hate for something to come out and just be kinda conventional."[34] As of May 2016, the media rights to Slender Man have been sold to production company Mythology Entertainment.[26]

text: Related incidents

text: Waukesha stabbing

text: On May 31, 2014, two 12-year-old girls in Waukesha, Wisconsin allegedly held down and stabbed a 12-year-old classmate 19 times. When questioned later by authorities, they reportedly claimed that they wished to commit a murder as a first step to becoming proxies for the Slender Man, having read about it online.[36] They also state that they were afraid that Slender Man would kill their families if they did not commit the murder.[37] The victim was able to crawl from the woods, where she had been left, to reach a roadside. A passing cyclist intervened, and the victim survived the attack. Both attackers have been diagnosed with mental illnesses[38] but have also been charged as adults and are each facing up to 65 years in prison.[39] One of the girls reportedly said Slender Man watches her, can read minds, and could teleport.[36]

text: Experts testified in court she also said she conversed with Lord Voldemort and one of the Teenage Mutant Ninja Turtles. On August 1, 2014, she was found incompetent to stand trial and her prosecution was suspended until her condition improved.[40] On November 12, 2014, a doctor judged that her condition had improved enough for her to stand trial,[41] and on December 19, 2014, the judge ruled that both girls were competent to stand trial.[42] In August 2015, the presiding judge ruled that the girls would be tried as adults.[43] They were tried separately.[44] On August 21, 2017, one of the girls, now 15, pleaded guilty to being a party to attempted second-degree homicide, but claimed she was not responsible for her actions on grounds of insanity.[45] Although prosecutors alleged that she knew what she was doing was wrong, the jury determined that she was mentally ill during the attack. She will spend at least three years in a mental hospital.[46][47] On December 21, Waukesha County Circuit Judge Michael Bohren sentenced Weier, then 16 years-old, to be hospitalized for 25 years from the date of the crime, which would keep her institutionalized until age 37.[48]

text: In a statement to the media, Eric Knudsen said, "I am deeply saddened by the tragedy in Wisconsin and my heart goes out to the families of those affected by this terrible act." He stated he would not be giving interviews on the matter.[49]

text: On 25 September 2017, it was reported[50] that Morgan Geyser, then 15, had agreed to plead guilty to attempting to commit first-degree homicide in an arrangement that would allow her avoid jail time. In terms of the arrangement Geyser would remain at the mental hospital where she had been staying for the past two years for at least a further three years.

text: On February 1, 2018, the Associated Press reported that Geyser had been sentenced to 40 years in the Wisconsin mental hospital, the maximum sentence allowed.[51]

text: A documentary film on the incident called Beware the Slenderman was released by HBO Films in March 2016, and was broadcast on HBO on January 23, 2017.[52]

text: Other incidents

text: After hearing the story, an unidentified woman from Cincinnati, Ohio, told a WLWT TV reporter in June 2014 that her 13-year-old daughter had attacked her with a knife, and had written macabre fiction, some involving the Slender Man, who the mother said motivated the attack.[53]

text: On September 4, 2014, a 14-year-old girl in Port Richey, Florida, allegedly set her family's house on fire while her mother and nine-year-old brother were inside. Police reported that the teenager had been reading online stories about Slender Man as well as Atsushi Ōkubo's manga Soul Eater.[54] Eddie Daniels of the Pasco County Sheriff's Office said the girl "had visited the website that contains a lot of the Slender Man information and stories [...] It would be safe to say there is a connection to that."[55]

text: During an early 2015 epidemic of suicide attempts by young people ages 12 to 24 on the Pine Ridge Indian Reservation, Slender Man was cited as an influence; the Oglala Sioux tribe president noted that many Native Americans traditionally believe in a "suicide spirit" similar to the Slender Man.[56]

text: References in media

text: This section gives self-sourcing examples without describing their significance in the context of the article. Please help improve this article by adding citations to reliable sources that describe the examples' significance, and by removing less pertinent examples. Unsourced or poorly sourced material may be challenged or removed. (October 2017) (Learn how and when to remove this template message)

text:
In 2011, Markus "Notch" Persson, creator of the sandbox indie game Minecraft, added a new hostile mob to the game, which he named the "Enderman" when multiple users on Reddit and Google+ commented on the similarity to the Slender Man.[57]
The Slender Man was the antagonist of the 2013 Lost Girl episode "SubterrFaenean", in which the Slender Man was said to be the basis for the Pied Piper legend.[58]
In the 2014 episode "Pinkie Apple Pie" of My Little Pony: Friendship is Magic, a pony version of the character appears in a brief cameo.[59]
The TV series Supernatural parodied Slender Man as "Thinman" in the 2014 episode of the same name.[60]
In 2016, American horror punk band Haunted Garage released an EP entitled Slenderman and Other Strange Tales, featuring a song and accompanying music video based on both the character and the 2014 stabbing case.[61]
The sixteenth season of the crime drama TV series Law & Order: Special Victims Unit featured an episode, "Glasgowman's Wrath", inspired by the Slender Man stabbings.[62]
The board game Kingdom Death: Monster features a Slender Man-based expansion pack.[citation needed]


document_title: Black Knight (Monty Python)

question_text: who plays the black knight in monty python

text: Black Knight (Monty Python)

text: Overview[edit]

text: In the film, King Arthur (Graham Chapman), accompanied by his trusty squire Patsy (Terry Gilliam), is travelling through a forest when he enters a clearing and observes a fight taking place between a Black Knight (John Cleese) and a Green one (also played by Gilliam) by a bridge over a small stream. As he watches, the Black Knight defeats the Green one by throwing his sword straight through the eye slot of the Green Knight's great helm (during Arthur's battle with the Black Knight, the Green Knight's body can be seen in a ditch beside the area).

text: Arthur then congratulates the Black Knight and offers him a place at Arthur's court at the Round Table, but the Black Knight only stands still, holding his sword vertically, and makes no response until Arthur moves to cross the bridge. The Black Knight moves slightly to block Arthur and declares "None shall pass". King Arthur, in a conciliatory manner, asserts his right to cross, but the Black Knight says Arthur will die. Arthur orders the Black Knight to move but he says, "I move, for no man". Reluctantly, King Arthur fights the Black Knight and, after a short battle, the Knight's left arm is severed, which squirts out copious amounts of blood.

text: Even at this the Knight refuses to stand aside, insisting "Tis but a scratch", insisting that he has "had worse", and fights on while holding his sword with his remaining arm. Next his right arm is cut off, but the knight still does not concede. As the Knight is literally disarmed, Arthur assumes the fight is over and kneels to offer a prayer to God. The Black Knight interrupts Arthur's prayer of thanks by kicking him in the side of the head and accusing him of cowardice. When Arthur points out the Black Knight's injuries, the Knight insists "'It's just a flesh wound!". In response to the continued kicks and insults, Arthur chops off the Black Knight's right leg. At this point, the Knight still won't admit to defeat, instead he replies by saying, "Right, I’ll do you for that", and attempts to ram his body into Arthur's, by hopping on his left leg. Arthur is annoyed at the Black Knight's persistence, and sarcastically asks the Black Knight if he is going to bleed on him to win. The Black Knight replies by saying, "I'm invincible!" to which Arthur replies "You're a loony.". With an air of resignation, Arthur finally cuts off the left leg as well and sheathes his sword. With the Black Knight now reduced to a mere stump of a man, he says, "All right, we'll call it a draw.". Arthur then summons Patsy and "rides" away, using coconuts to simulate the sound of a horse galloping, leaving the Black Knight's limbless torso screaming threats at him ("Running away, eh? You yellow bastards! Come back here and take what's coming to ya! I'll bite your legs off!").

text: Behind the scenes[edit]

text: According to the DVD audio commentary by Cleese, Palin, and Idle, the sequence originated in a story told to Cleese when he was attending an English class during his school days. Two Roman wrestlers were engaged in a particularly intense match and had been fighting for such a substantial length of time that the match had degraded to the two combatants doing little more than leaning into one another with their body weight. When one wrestler finally tapped-out and pulled away from his opponent, it was only then that he and the crowd realised the other man was, in fact, dead and had effectively won the match posthumously. The moral of the tale, according to Cleese's teacher, was "if you never give up, you can't possibly lose" – a statement that, Cleese reflected, always struck him as being "philosophically unsound".[citation needed] The story would have been a deformed (or misremembered) description of the death of Arrichion of Phigalia.

text: Cleese said that the scene would seem heartless and sadistic except for the fact that the Black Knight shows no pain and just keeps on fighting, or trying to, however badly he is wounded. Also, as the scene progresses and Arthur becomes increasingly annoyed, his dialogue lapses from medieval ("You are indeed brave, Sir Knight, but the fight is mine.") to modern ("Look, you stupid bastard, you've got no arms left!"), and finally to just plain sarcastic ("What are you gonna do, bleed on me?") while the Black Knight remains just as defiant ("I'm invincible!" he yells with only one leg left, to which Arthur simply replies "You're a loony.").

text: This scene is one of the best-known of the entire film. A famous line of the scene, "'Tis but a scratch.", is similar to a line the character Mercutio speaks in Shakespeare's Romeo and Juliet, wherein he demurs, saying "Ay, ay, a scratch, a scratch," referring to his mortal wound, and the former has since become an expression used to comment on someone who ignores a fatal flaw or problem. The phrase "'Tis but a flesh wound", following a character entering "with coconut shells tied to his feet" notably appeared in an early episode of The Goon Show titled "The Giant Bombardon", broadcast in 1954; the Monty Python group has acknowledged being influenced by the Goons.[1][2]

text: The Knight was, in fact, played by two actors: John Cleese is in the Knight's armour until he is down to one leg. The Knight is then played by a real one-legged man, a local by the name of Richard Burton,[3] a blacksmith who lived near the film shoot (not to be confused with Richard Burton, the Welsh actor of the same name), because, according to the DVD commentary, Cleese could not balance well on one leg. After the Knight's remaining leg is cut off, the quadruple-amputee that remains is again Cleese. Cleese still boasts that he had Richard Burton as his stunt double.[citation needed]

text: In the musical Spamalot, the scene with the Black Knight was the most difficult to play on stage, according to Eric Idle. Penn & Teller created the illusion for the musical.[4]


document_title: List of National Basketball Association career scoring leaders

question_text: which nba player has scored the most points

text: Scoring leaders[edit]

text: The following is a list of National Basketball Association players by total career regular season points scored.

text:
^

Active NBA player

*

Inducted into the Naismith Memorial Basketball Hall of Fame

†

Not yet eligible for Hall of Fame consideration[2]

text:
Rank

Player

Position(s)

Team(s) played for (years)[3]

Total points

Games  played

Points  per gameaverage[4]

Field goalsmade

Three-pointfield goalsmade[5]

Free  throws made

1

Kareem Abdul-Jabbar*[6]

C

Milwaukee Bucks (1969–1975)Los Angeles Lakers (1975–1989)

38,387

1,560

24.6

15,837

1

6,712

2

Karl Malone*

PF

Utah Jazz (1985–2003)Los Angeles Lakers (2003–2004)

36,928

1,476

25.0

13,528

85

9,787

3

Kobe Bryant†

SG

Los Angeles Lakers (1996–2016)

33,643

1,346

25.0

11,719

1,827

8,378

4

Michael Jordan*

SG

Chicago Bulls (1984–1993, 1995–1998)Washington Wizards (2001–2003)

32,292

1,072

30.1

12,192

581

7,327

5

Wilt Chamberlain*

C

Philadelphia/San Francisco Warriors (1959–1965)Philadelphia 76ers (1965–1968)Los Angeles Lakers (1968–1973)

31,419

1,045

30.1

12,681

0

6,057

6

LeBron James^

SF/PF

Cleveland Cavaliers (2003–2010, 2014–2018)Miami Heat (2010–2014)Los Angeles Lakers (2018–present)

31,231

1,150

27.2

11,350

1,626

6,905

7

Dirk Nowitzki^

PF/C

Dallas Mavericks (1999–present)

31,187

1,471

21.2

11,034

1,918

7,201

8

Shaquille O'Neal*

C

Orlando Magic (1992–1996)Los Angeles Lakers (1996–2004)Miami Heat (2004–2008)Phoenix Suns (2008–2009)Cleveland Cavaliers (2009–2010)Boston Celtics (2010–2011)

28,596

1,207

23.7

11,330

1

5,935

9

Moses Malone*

C

Buffalo Braves (1976)Houston Rockets (1976–1982)Philadelphia 76ers (1982–1986, 1993–1994)Washington Bullets (1986–1988)Atlanta Hawks (1988–1991)Milwaukee Bucks (1991–1993)San Antonio Spurs (1994–1995)

27,409

1,329

20.6

9,435

8

8,531

10

Elvin Hayes*

PF/C

San Diego/Houston Rockets (1968–1972, 1981–1984)Baltimore/Capital/Washington Bullets (1972–1981)

27,313

1,303

21.0

10,976

5

5,356

11

Hakeem Olajuwon*[7]

C

Houston Rockets (1984–2001)Toronto Raptors (2001–2002)

26,946

1,238

21.8

10,749

25

5,423

12

Oscar Robertson*

PG

Cincinnati Royals (1960–1970)Milwaukee Bucks (1970–1974)

26,710

1,040

25.7

9,508

0

7,694

13

Dominique Wilkins*

SF

Atlanta Hawks (1982–1994)Los Angeles Clippers (1994)Boston Celtics (1994–1995)San Antonio Spurs (1996–1997)Orlando Magic (1999)

26,668

1,074

24.8

9,963

711

6,031

14

Tim Duncan†

PF/C

San Antonio Spurs (1997–2016)

26,496

1,392

19.0

10,285

30

5,896

15

Paul Pierce†

SF/SG

Boston Celtics (1999–2013)Brooklyn Nets (2013–2014)Washington Wizards (2014–2015)Los Angeles Clippers (2015–2017)

26,397

1,343

19.7

8,668

2,143

6,918

16

John Havlicek*

SF/SG

Boston Celtics (1962–1978)

26,395

1,270

20.8

10,513

0

5,369

17

Kevin Garnett†

PF/C

Minnesota Timberwolves (1995–2007, 2015–2016)Boston Celtics (2007–2013)Brooklyn Nets (2013–2015)

26,071

1,462

17.8

10,505

174

4,887

18

Alex English*

SF

Milwaukee Bucks (1976–1978)Indiana Pacers (1978–1980)Denver Nuggets (1980–1990)Dallas Mavericks (1990–1991)

25,613

1,193

21.5

10,659

18

4,277

19

Carmelo Anthony^

SF

Denver Nuggets (2003–2011)New York Knicks (2011–2017)Oklahoma City Thunder (2017–2018)Houston Rockets (2018–present)

25,488

1,059

24.1

9,114

1,353

5,907

20

Reggie Miller*

SG

Indiana Pacers (1987–2005)

25,279

1,389

18.2

8,241

2,560

6,237

21

Jerry West*

PG/SG

Los Angeles Lakers (1960–1974)

25,192

932

27.0

9,016

0

7,160

22

Vince Carter^

SG/SF

Toronto Raptors (1999–2004)New Jersey Nets (2004–2009)Orlando Magic (2009–2010)Phoenix Suns (2010–2011)Dallas Mavericks (2011–2014)Memphis Grizzlies (2014–2017)Sacramento Kings (2017–2018)Atlanta Hawks (2018–present)

24,915

1,411

17.7

9,005

2,117

4,788

23

Patrick Ewing*

C

New York Knicks (1985–2000)Seattle SuperSonics (2000–2001)Orlando Magic (2001–2002)

24,815

1,183

21.0

9,702

19

5,392

24

Ray Allen*

SG

Milwaukee Bucks (1996–2003)Seattle SuperSonics (2003–2007)Boston Celtics (2007–2012)Miami Heat (2012–2014)

24,505

1,300

18.9

8,567

2,973

4,398

25

Allen Iverson*

SG/PG

Philadelphia 76ers (1996–2006, 2009–2010)Denver Nuggets (2006–2008)Detroit Pistons (2008–2009)Memphis Grizzlies (2009)

24,368

914

26.7

8,467

1,059

6,375

26

Charles Barkley*

PF

Philadelphia 76ers (1984–1992)Phoenix Suns (1992–1996)Houston Rockets (1996–2000)

23,757

1,073

22.1

8,435

538

6,349

27

Robert Parish*

C

Golden State Warriors (1976–1980)Boston Celtics (1980–1994)Charlotte Hornets (1994–1996)Chicago Bulls (1996–1997)

23,334

1,611

14.5

9,614

0

4,106

28

Adrian Dantley*

SF

Buffalo Braves (1976–1977)Indiana Pacers (1977)Los Angeles Lakers (1977–1979)Utah Jazz (1979–1986)Detroit Pistons (1986–1989)Dallas Mavericks (1989–1990)Milwaukee Bucks (1991)

23,177

955

24.3

8,169

7

6,832

29

Elgin Baylor*

SF

Minneapolis/Los Angeles Lakers (1958–1971)

23,149

846

27.4

8,693

0

5,763

30

Clyde Drexler*

SG

Portland Trail Blazers (1983–1995)Houston Rockets (1995–1998)

22,195

1,086

20.4

8,335

827

4,698

31

Dwyane Wade^

SG

Miami Heat (2003–2016, 2018–present)Chicago Bulls (2016–2017) Cleveland Cavaliers (2017–2018)

22,155

988

22.4

8,066

472

5,551

32

Gary Payton*

PG

Seattle SuperSonics (1990–2003)Milwaukee Bucks (2003)Los Angeles Lakers (2003–2004)Boston Celtics (2004–2005)Miami Heat (2005–2007)

21,813

1,335

16.3

8,708

1,132

3,265

33

Larry Bird*

SF/PF

Boston Celtics (1979–1992)

21,791

897

24.3

8,591

649

3,960

34

Hal Greer*

SG/PG

Syracuse Nationals/Philadelphia 76ers (1958–1973)

21,586

1,122

19.2

8,504

0

4,578

35

Kevin Durant^

SF

Seattle SuperSonics/Oklahoma City Thunder (2007–2016)Golden State Warriors (2016–present)

21,139

779

27.1

7,178

1,445

5,338

36

Walt Bellamy*

C

Chicago Packers/Zephyrs/Baltimore Bullets (1961–1965)New York Knicks (1965–1968)Detroit Pistons (1968–1970)Atlanta Hawks (1970–1974)New Orleans Jazz (1974)

20,941

1,043

20.1

7,914

0

5,113

37

Bob Pettit*

PF/C

Milwaukee/St. Louis Hawks (1954–1965)

20,880

792

26.4

7,349

0

6,182

38

Pau Gasol^

C/PF

Memphis Grizzlies (2001–2008)Los Angeles Lakers (2008–2014)Chicago Bulls (2014–2016)San Antonio Spurs (2016–present)

20,815

1,202

17.3

7,951

176

4,737

39

David Robinson*

C

San Antonio Spurs (1989–2003)

20,790

987

21.1

7,365

25

6,035

40

George Gervin*

SG/SF

San Antonio Spurs (1976–1985)Chicago Bulls (1985–1986)

20,708

791

26.2

8,045

77

4,541

41

Mitch Richmond*

SG

Golden State Warriors (1988–1991)Sacramento Kings (1991–1998)Washington Wizards (1999–2001)Los Angeles Lakers (2001–2002)

20,497

976

21.0

7,305

1,326

4,561

42

Joe Johnson^

SG/SF

Boston Celtics (2001–2002)Phoenix Suns (2002–2005)Atlanta Hawks (2005–2012)Brooklyn Nets (2012–2016)Miami Heat (2016)Utah Jazz (2016–2018)Houston Rockets (2018)

20,405

1,276

16.0

7,822

1,978

2,783

43

Tom Chambers

PF

San Diego Clippers (1981–1983)Seattle SuperSonics (1983–1988)Phoenix Suns (1988–1993)Utah Jazz (1993–1995)Charlotte Hornets (1997)Philadelphia 76ers (1997)

20,049

1,107

18.1

7,378

227

5,066

44

Antawn Jamison

PF/SF

Golden State Warriors (1999–2003)Dallas Mavericks (2003–2004)Washington Wizards (2004–2010)Cleveland Cavaliers (2010–2012)Los Angeles Lakers (2012–2013)Los Angeles Clippers (2013–2014)

20,042

1,083

18.5

7,679

1,163

3,521

45

John Stockton*

PG

Utah Jazz (1984–2003)

19,711

1,504

13.1

7,039

845

4,788

46

Bernard King*

SF

New Jersey Nets (1977–1979, 1993)Utah Jazz (1979)Golden State Warriors (1980–1982)New York Knicks (1982–1985, 1987)Washington Bullets (1987–1991)

19,655

874

22.5

7,830

23

3,972

47

Clifford Robinson

PF/SF

Portland Trail Blazers (1989–1997)Phoenix Suns (1997–2001)Detroit Pistons (2001–2003)Golden State Warriors (2003–2005)New Jersey Nets (2005–2007)

19,591

1,380

14.2

7,389

1,253

3,560

48

Walter Davis

SG/SF

Phoenix Suns (1977–1988)Denver Nuggets (1988–1991, 1991–1992)Portland Trail Blazers (1991)

19,521

1,033

18.9

8,118

157

3,128

49

Terry Cummings

PF

San Diego Clippers (1982–1984)Milwaukee Bucks (1984–1989, 1995–1996)San Antonio Spurs (1989–1995)Seattle SuperSonics (1996–1997)Philadelphia 76ers (1997–1998)New York Knicks (1998)Golden State Warriors (1999–2000)

19,460

1,183

16.4

8,045

44

3,326

50

Bob Lanier*

C

Detroit Pistons (1970–1980)Milwaukee Bucks (1980–1984)

19,248

959

20.1

7,761

2

3,724

text: Progressive list of scoring leaders[edit]

text: This is a progressive list of scoring leaders showing how the record increased through the years.[1]

text:
Team abbreviations

Team(s) listed is the one player was on when he established the record.

ATL
Atlanta Hawks
DET
Detroit Pistons
MIL
Milwaukee Bucks
PHX
Phoenix Suns

BOS
Boston Celtics
FTW
Fort Wayne Pistons
MIN
Minnesota Timberwolves
PHW
Philadelphia Warriors

BUF
Buffalo Braves
GSW
Golden State Warriors
MNL
Minneapolis Lakers
SAS
San Antonio Spurs

CHI
Chicago Bulls
HOU
Houston Rockets
NOJ
New Orleans Jazz
SDR
San Diego Rockets

CHS
Chicago Stags
IND
Indiana Pacers
NOP
New Orleans Pelicans
SFW
San Francisco Warriors

CLE
Cleveland Cavaliers
KCO
Kansas City-Omaha Kings
OKC
Oklahoma City Thunder
STL
St. Louis Hawks

DAL
Dallas Mavericks
LAL
Los Angeles Lakers
ORL
Orlando Magic
SYR
Syracuse Nationals

DEN
Denver Nuggets
MIA
Miami Heat
PHI
Philadelphia 76ers
UTA
Utah Jazz

text:
Scoring leader at the end of every season

Season
Year-by-year leader
Points
Active player leader
Total points
Career record
Total points
Single-season record
Points
Season

1946–47
Joe Fulks*000PHW
1,389
Joe Fulks*000PHW
1,389
Joe Fulks*000PHW
1,389
Joe Fulks*000PHW
1,389
1946–47

1947–48
Max Zaslofsky000CHS
1,007
2,338
2,338
1947–48

1948–49
George Mikan*000MNL
1,698
3,898
3,898
George Mikan*000MNL
1,698
1948–49

1949–50
1,865
4,863
4,863
1,865
1949–50

1950–51
1,932
6,099
6,099
1,932
1950–51

1951–52
Paul Arizin*000PHW
1,674
7,021
7,021
1951–52

1952–53
Neil Johnston*000PHW
1,564
George Mikan*000MNL
8,460
George Mikan*000MNL
8,460
1952–53

1953–54
1,759
9,766
9,766
1953–54

1954–55
1,631
Max Zaslofsky000FTW
7,902
1954–55

1955–56
Bob Pettit*000STL
1,849
George Mikan*000MNL
10,156
10,156
1955–56

1956–57
Paul Arizin*000PHW
1,817
Ed Macauley*000STL
10,150
1956–57

1957–58
George Yardley*000DET
2,001
Dolph Schayes*000SYR
11,764
Dolph Schayes*000SYR
11,764
George Yardley*000DET
2,001
1957–58

1958–59
Bob Pettit*000STL
2,105
13,298
13,298
Bob Pettit*000STL
2,105
1958–59

1959–60
Wilt Chamberlain*000PHW 1959–62000SFW 1962–65000PHI 1965–66
2,707
14,987
14,987
Wilt Chamberlain*000PHW
2,707
1959–60

1960–61
3,033
16,855
16,855
3,033
1960–61

1961–62
4,029
17,677
17,677
4,029
1961–62

1962–63
3,586
18,304
18,304
1962–63

1963–64
2,948
Bob Pettit*000STL
19,756
Bob Pettit*000STL
19,756
1963–64

1964–65
2,534
20,880
20,880
1964–65

1965–66
2,649
Wilt Chamberlain*000PHI 1965–68000LAL 1968–73
21,486
Wilt Chamberlain*000PHI 1965–68000LAL 1968–73
21,486
1965–66

1966–67
Rick Barry*000SFW
2,775
23,442
23,442
1966–67

1967–68
Dave Bing*000DET
2,142
25,434
25,434
1967–68

1968–69
Elvin Hayes*000SDR
2,327
27,098
27,098
1968–69

1969–70
Kareem Abdul-Jabbar*000MIL
2,361
27,426
27,426
1969–70

1970–71
2,596
29,122
29,122
1970–71

1971–72
2,822
30,335
30,335
1971–72

1972–73
Tiny Archibald*000KCO
2,719
31,419
31,419
1972–73

1973–74
Bob McAdoo*000BUF
2,261
Oscar Robertson*000MIL
26,710
1973–74

1974–75
2,831
John Havlicek*000BOS
22,389
1974–75

1975–76
2,427
23,678
1975–76

1976–77
Pete Maravich*000NOJ
2,273
25,073
1976–77

1977–78
George Gervin*000SAS
2,232
26,395
1977–78

1978–79
2,365
Kareem Abdul-Jabbar*000LAL
22,141
1978–79

1979–80
2,585
24,175
1979–80

1980–81
Adrian Dantley*000UTA
2,452
26,270
1980–81

1981–82
George Gervin*000SAS
2,551
28,088
1981–82

1982–83
Alex English*000DEN
2,326
29,810
1982–83

1983–84
Adrian Dantley*000UTA
2,418
31,527
Kareem Abdul-Jabbar*000LAL
31,527
1983–84

1984–85
Michael Jordan*000CHI
2,313
33,262
33,262
1984–85

1985–86
Alex English*000DEN
2,414
35,108
35,108
1985–86

1986–87
Michael Jordan*000CHI
3,041
36,474
36,474
1986–87

1987–88
2,868
37,639
37,639
1987–88

1988–89
2,633
38,387
38,387
1988–89

1989–90
2,753
Moses Malone*000ATL 1989–91000MIL 1991–93000PHI 1993–94000SAS 1994–95
24,868
1989–90

1990–91
2,580
25,737
1990–91

1991–92
2,404
27,016
1991–92

1992–93
2,541
27,066
1992–93

1993–94
David Robinson*000SAS
2,383
27,360
1993–94

1994–95
Shaquille O'Neal*000ORL
2,315
27,409
1994–95

1995–96
Michael Jordan*000CHI
2,491
Michael Jordan*000CHI
24,489
1995–96

1996–97
2,431
26,920
1996–97

1997–98
2,357
29,277
1997–98

1998–99
Shaquille O'Neal*000LAL
1,289
Karl Malone*000UTA 1998–2003000LAL 2003–04
28,946
1998–99

1999–00
2,344
31,041
1999–00

2000–01
Jerry Stackhouse00DET
2,380
32,919
2000–01

2001–02
Paul Pierce†000BOS
2,144
34,707
2001–02

2002–03
Kobe Bryant†000LAL
2,461
36,374
2002–03

2003–04
Kevin Garnett†000MIN
1,987
36,928
2003–04

2004–05
Allen Iverson*000PHI
2,302
Reggie Miller*000IND
25,279
2004–05

2005–06
Kobe Bryant†000LAL
2,832
Shaquille O'Neal*000MIA 2005–08000PHO 2008–09000CLE 2009–10000BOS 2010–11
24,764
2005–06

2006–07
2,430
25,454
2006–07

2007–08
2,323
26,286
2007–08

2008–09
Dwyane Wade^000MIA
2,386
27,619
2008–09

2009–10
Kevin Durant^000OKC
2,472
28,255
2009–10

2010–11
2,161
28,596
2010–11

2011–12
1,850
Kobe Bryant†000LAL
29,484
2011–12

2012–13
2,280
31,617
2012–13

2013–14
2,593
31,700
2013–14

2014–15
James Harden^000HOU
2,217
32,482
2014–15

2015–16
2,376
33,643
2015–16

2016–17
Russell Westbrook^000OKC
2,558
Dirk Nowitzki^000DAL
30,260
2016–17

2017–18
LeBron James^000CLE
2,251
31,187
Abdul-Jabbar*0 35 yrs
38,387
Chamberlain*059 yrs
4,029
2017–18

Season
Year-by-year leader
Points
Active player leader
Total points
Career record
Total points
Single-season record
Points
Season


document_title: Sino-Soviet relations

question_text: who did the soviet union support in china civil war

text: Sino-Soviet relations

text: Country comparison[edit]

text:
Republic of China
(China)
People's Republic of China
(China)
Union of Soviet Socialist Republics
(Soviet Union)

Coat of Arms

Flag

Area
11,077,380 km² (4,277,000 sq mi)(1912)
9,676,204 km²(3,736,003 sq mi)(1949)
9,640,011 km² (3,717,813 sq mi)
22,402,200 km² (8,649,538 sq mi)

Population
472,000,000 (1920)
541,670,000 (1949)
1,172,327,000 (1991)
148,656,000(1926)
293,047,571 (1991)

Population Density
55.3 /km²(143.3 /sq mi)(1949)
140/km² (363/sq mi)(1991)
13.1/km² (33.9 /sq mi)(1991)

Capital
Beijing (Beiyang)
Nanjing (Nationalist)
Taipei (Nationalist - in exile)
Beijing
Moscow

Largest City
Shanghai(before 1949)
New Taipei (1991)
Shanghai(1991)
Moscow(1991)

Government
Unitary semi-presidential
one-party republic
under authoritarian military dictatorship
Unitary Marxist–Leninist-Maoist
one-party socialist state
Federal Marxist–Leninist
one-party socialist state

Ruling political party
Beiyang government Kuomintang
Communist Party of China
Communist Party of the Soviet Union

Legislature
Legislative Yuan
National People's Congress
Supreme Soviet

Official languages
Mandarin
Mandarin
Russian

Other languages
Mongolian
Tibetan
Uyghur
Zhuang(see Languages of China)
Mongolian
Tibetan
Uyghur
Zhuang
Ukrainian
Byelorussian
Uzbek
Kazakh
Georgian
Azerbaydzhani
Lithuanian
Moldavian
Latvian
Kirghiz
Tadzhik
Armenian
Turkmen
Estonian

Currency
Chinese yuan
Old Taiwan dollar(before 1949)
Chinese yuan
Soviet ruble

text: Russian Civil War and Mongolia[edit]

text: The Beiyang government in north China joined the Allied intervention in the Russian Civil War, sending forces to Siberia and North Russia beginning in 1918.

text: Mongolia and Tuva became contested territories. After being occupied by the Chinese General Xu Shuzheng in 1919, they came under the sway of the Russian White Guard General turned independent warlord, Ungern von Sternberg in 1920. Soviet troops, with support from Mongolian guerrillas led by Damdin Sükhbaatar, defeated the White warlord and established a new pro-Soviet Mongolian client state, which by 1924 became the Mongolian People's Republic.

text: The KMT, the CCP, the Chinese Civil War and the establishment of diplomatic relations[edit]

text: In 1921 the Soviet Union began supporting the Kuomintang (KMT), and in 1923 the Comintern instructed the Chinese Communist Party (commonly abbreviated as CCP) to sign a military treaty with the KMT. On May 31, 1924, the two governments signed an agreement to establish diplomatic relations, while the Soviet government renounced in that agreement all privileges granted to the Tsarist government in China.[1] But in 1926 KMT leader Chiang Kai-shek abruptly dismissed his Soviet advisers and imposed restrictions on CCP participation in the government. By 1927, after the conclusion of the Northern Expedition, Chiang purged the CCP from the KMT-CCP alliance, resulting in the Chinese Civil War which would last until 1949, a few months after the proclamation of the People's Republic of China, led by Mao Zedong. During the war the Soviets gave some support to the CCP, which in 1934 suffered a crushing blow when the KMT brought an end to the Chinese Soviet Republic, thus causing the CCP's Long March from Shaanxi. The Soviet Union tried and failed in an attempt to make the[clarification needed] Hui hostile to China.[2]

text: Sino-Soviet conflict, 1929[edit]

text: The Sino-Soviet conflict of 1929 was a minor armed conflict between the Soviet Union and the Republic of China over the Manchurian Chinese Eastern Railway. The Chinese seized the Manchurian Chinese Eastern Railway in 1929, swift Soviet military intervention quickly put an end to the crisis and forced the Chinese to accept restoration of joint Soviet-Chinese administration of the railway.

text: Soviet Invasion of Xinjiang[edit]

text: In 1934 the Republic of China 36th Division (National Revolutionary Army), which was composed of Muslims, severely mauled the Soviet Union Red Army and their White Russian allies when the Soviets attempted to seize Xinjiang.

text: Xinjiang War (1937)[edit]

text: The Soviet Union intervened again in Xinjiang in 1937.

text: Second Sino-Japanese War and World War II[edit]

text: In 1931, Japan invaded Manchuria and created the puppet state of Manchukuo (1932), which signaled the beginning of the Second Sino-Japanese War. In 1937, a month after the Marco Polo Bridge Incident, the Soviet Union established a non-aggression pact with the Republic of China. During the World War II period, the two countries suffered more losses than any other country, with China (in the Second Sino-Japanese war) losing about 30 million people and the Soviet Union 26 million.

text: Joint victory over Imperial Japan[edit]

text: On August 8, 1945, three months after Nazi Germany surrendered, and on the week of the American Atomic bombings of Hiroshima and Nagasaki, the Soviet Union launched the invasion of Manchuria, a massive military operation mobilizing 1.5 million soldiers against one million Kwantung Army troops, the last remaining Japanese military presence. Soviet forces won a decisive victory while the Kwantung suffered massive casualties, with 700,000 having surrendered. The Soviet Union distributed some of the weapons of the captured Kwantung Army to the CCP, who were still battling the KMT in the Chinese Civil War.

text: Ili Rebellion[edit]

text: While the Republic of China was concentrating on the Second Sino-Japanese War, the USSR supported Uyghur nationalists in their uprise in Xinjiang and set up Second East Turkestan Republic against Kuomintang. After the Chinese Communist Party defeated Kuomintang in 1949, USSR terminated support for the Second East Turkestan Republic.

text: The Soviets tried to spread anti-Chinese propaganda among minorities in Xinjiang, but this backfired when Uyghur mobs attacked White Russians and called for them to be expelled from Xinjiang.[3]

text: Pei-ta-shan Incident[edit]

text: Chinese Muslim forces fought against Soviet and Mongol troops in this incident.

text: Chinese Civil War and the People's Republic of China[edit]

text: After 1946, the CCP was increasingly successful in the Civil War. On October 1, 1949, the People's Republic of China was proclaimed by Mao Zedong, and by May 1950 the KMT had been expelled from Mainland China, remaining in control of Taiwan. With the creation of the People's Republic of China, the supreme political authority in the two countries became centred in two communist parties, both espousing revolutionary, Marxist–Leninist ideology: the Communist Party of China and the Communist Party of the Soviet Union.

text: After the establishment of the People's Republic of China, a sensitive issue which influenced the Sino-Soviet relationship emerged. As a condition of fighting the Kwantung Army at the end of the Second World War, the Soviet Union received usage rights of the China Far East Railway, the South Manchuria Railway, Lushun (also known as Port Arthur) and Dalian. These privileges were significant in the Asian strategies of the Soviet Union because Port Arthur and Dalian were ice-free ports for the Soviet Navy, and the China Far East Railway and the South Manchuria Railway were the essential arterial communications which connected Siberia to Port Arthur and Dalian. As Mao Zedong thought that the usage rights of the Chinese Eastern Railway, the South Manchuria Railway, the Port Arthur and Dalian were part of Chinese state sovereignty, he required the Soviet Union to return these interests to China, and this was a crucial part of the Sino-Soviet Treaty of Friendship. Joseph Stalin initially refused this treaty, but finally made a great concession, and agreed with this treaty under the various stresses of the period.[4]

text: Since the Sino-Soviet Treaty of Friendship resulted in the Soviet Union losing its naval bases in Port Arthur and Dalian, the issue that Stalin had to face was to find a new ice-free port as a Soviet naval base. This issue motivated Stalin's support for allowing Kim Il-Sung to launch the Korean War.[4] However, both Kim Il-Sung and Stalin did not consider that the United States would intervene into that war immediately, if at all. Kim Il-Sung could not sustain the attack against the US Army. When Kim Il-Sung required military assistance from the Soviet Union and China, Mao agreed to send Chinese troops, but asked the Soviet Air Force to provide air cover. As the two leaders distrusted each other, Stalin agreed with sending Chinese troops to Korea, but refused to provide air cover.[5] Since without the air cover from the Soviet Union, Mao once considered that China did not send troops into Korea, and Stalin at one time decided to give up the Korea Peninsula.[5] After much cogitation, Mao solely sent Chinese troops into Korea on 19 October 1950 under an extremely hard Chinese economic and military situation. This activity ultimately changed the Sino-Soviet relationship. After 12 days of Chinese troops entering the war, Stalin allowed the Soviet Air Force to provide air cover, and supported more aid to China.[5] Mao sending Chinese troops to take part in the Korean War was followed by large-scale economic and military cooperation between China and the Soviet Union, and the friendly relationship of the two countries changed from titular to virtual. In one less known example of the Sino-Soviet military cooperation, in April–June 1952 a group of Soviet Tupolev Tu-4 aircraft were based in Beijing to perform reconnaissance missions on American fusion bomb tests in the Pacific.[6]

text: Sino-Soviet split[edit]

text: Thus, in the immediate years after the PRC was proclaimed, the Soviet Union became its closest ally. Soviet design, equipment and skilled labour was set out to help industrialize and modernize the PRC. But the extent of actual support, while not insignificant, fell well below Chinese expectations. In the 1960s, relations became deeply strained following the Sino-Soviet Split, culminating in the Sino-Soviet border conflict in 1969. Increasingly, the PRC began to consider the Soviet Union, which it viewed as Social imperialist, as the greatest threat it faced. In turn, overtures were made between the PRC and the US, such as in the Ping Pong Diplomacy and the 1972 Nixon visit to China.

text: The Soviet Union had encouraged Uyghurs to rebel against China.[7]

text: Post-Mao era and stabilizing relations[edit]

text: In 1976, Mao died, and in 1978, the Gang of Four were overthrown by Deng Xiaoping, who was to soon implement pro-market economic reform. With the PRC no longer espousing the anti-revisionist notion of the antagonistic contradiction between classes, relations between the two countries became gradually normalized. In 1979, however, the PRC launched the Sino-Vietnamese War, a failed invasion of Vietnam (which had, after a period of ambivalence, sided with the Soviet Union) in response to the Vietnamese invasion of Cambodia which overthrew the China-backed Khmer Rouge from power.

text: During the Sino-Soviet split, strained relations between China and the Soviet Union resulted in strained relations between China and the pro-Soviet Afghan communist regime. China and Afghanistan had neutral relations with each other during the rule of King Zahir Shah. When the pro-Soviet Afghan communists seized power in Afghanistan in 1978, relations between China and the Afghan communists quickly turned hostile. The Afghan pro-Soviet communists supported the Vietnamese during the Sino-Vietnamese War and blamed China for supporting Afghan anti-communist militants. China responded to the Soviet invasion of Afghanistan by supporting the Afghan Mujahideen and ramping up their military presence near Afghanistan in Xinjiang. China acquired military equipment from the United States to defend itself from Soviet attack.[8]

text: China moved its training camps for the Mujahideen from Pakistan into China itself. Hundreds of millions worth of anti-aircraft missiles, rocket launchers and machine guns were given to the Mujahideen by the Chinese. Chinese military advisors and army troops were present with the Mujahideen during training.[9]

text: Even though Soviet leader Mikhail Gorbachev went on to criticize the post-Maoist CCP when it allowed for PRC millionaires as having lost the socialist path, with the dissolution of the Soviet Union in the late 1980s and early 1990s, the Soviet Union itself turned to privatization.

text: Dissolution of the Soviet Union[edit]

text: Unlike that of the PRC, this was a much more extreme, highly unregulated form of privatization which resulted in massive losses to foreign speculators, near-anarchical conditions and economic collapse. Thus, in the post-Cold War period, while the Soviet Union remained vastly more developed (economically and militarily), in a systemic and deep way (i.e., the PRC in 1949 was less industrialized than Russia in 1914), the PRC emerged in a far more favourable and stable financial position. While the severe Soviet shortage of capital was new, Chinese economic and military underdevelopment was not. Nor was the PRC's desperate and ever-growing need for mineral resources, especially petroleum fuel, which the Soviet Union held in abundance in such Asiatic regions as western Siberia.