title: 1989 Tournament of the Americas

abstract: The 1989 Tournament of the Americas, later known as the FIBA Americas Championship and the FIBA AmeriCup, was a basketball championship hosted by Mexico from June 8 to June 18, 1989. The games were played in Mexico City. This FIBA AmeriCup was to earn the five berths allocated to the Americas for the 1990 FIBA World Championship in Argentina. Puerto Rico defeated the United States in the final to win the tournament. Brazil, Venezuela, and Canada also qualified for the World Championship by finishing third through fifth, respectively.

text:
# 1989 Tournament of the Americas

The **1989 Tournament of the Americas**, later known as the **FIBA Americas Championship** and the **FIBA AmeriCup**, was a basketball championship hosted by Mexico from June 8 to June 18, 1989. The games were played in Mexico City. This FIBA AmeriCup was to earn the five berths allocated to the Americas for the 1990 FIBA World Championship in Argentina. Puerto Rico defeated the United States in the final to win the tournament. Brazil, Venezuela, and Canada also qualified for the World Championship by finishing third through fifth, respectively.

## Qualification

Eight teams qualified during the qualification tournaments held in their respective zones in 1989; two teams (USA and Canada) qualified automatically since they are the only members of the North America zone.

The draw split the tournament into two groups:

## Format

* The top four teams from each group advance to the knockout round. The losers from the knockout quarterfinals compete in a separate bracket to define fifth through eighth place.
* Results and standings among teams within the same group are carried over.
* The winners in the knockout semifinals advanced to the Final and were granted berths in the 1990 FIBA World Championship in Argentina. The losers figure in a third-place playoff and were both also granted berths in the FIBA World Championship. Since Argentina and the United States were already qualified as hosts and Olympic Champions respectively, should they reach one of the top four positions in the final standings, one or two extra berths should be granted to the fifth and/or sixth team in the final standings.

## Squads

## Preliminary round

|  | Qualified for the quarterfinals |
| --- | --- |

### Group A

| Team | Pld | W | L | PF | PA | PD | Pts |
| --- | --- | --- | --- | --- | --- | --- | --- |
| Puerto Rico | 5 | 4 | 1 | 495 | 447 | +48 | **9** |
| United States | 5 | 4 | 1 | 523 | 480 | +43 | **9** |
| Dominican Republic | 5 | 4 | 1 | 485 | 466 | +19 | **9** |
| Cuba | 5 | 2 | 3 | 450 | 449 | +1 | **7** |
| Mexico | 5 | 1 | 4 | 453 | 476 | 23 | **6** |
| Panama | 5 | 0 | 5 | 432 | 520 | 88 | **5** |

| **Dominican Republic** | **116**108 | United States |
| --- | --- | --- |

| **Puerto Rico** | **104**83 | Panama |
| --- | --- | --- |

| **Cuba** | **89**88 | Mexico |
| --- | --- | --- |

| **Dominican Republic** | **85**77 | Cuba |
| --- | --- | --- |

| **Mexico** | **98**88 | Panama |
| --- | --- | --- |

| **United States** | **105**92 | Puerto Rico |
| --- | --- | --- |

| **Puerto Rico** | **97**88 | Mexico |
| --- | --- | --- |

| **United States** | **95**92 | Cuba |
| --- | --- | --- |

| **Dominican Republic** | **105**84 | Panama |
| --- | --- | --- |

| **Puerto Rico** | **101**98 | Cuba |
| --- | --- | --- |

| **Dominican Republic** | **106**96 | Mexico |
| --- | --- | --- |

| **United States** | **119**97 | Panama |
| --- | --- | --- |

| **Puerto Rico** | **101**73 | Dominican Republic |
| --- | --- | --- |

| **Cuba** | **94**80 | Panama |
| --- | --- | --- |

| **United States** | **96**83 | Mexico |
| --- | --- | --- |

### Group B

| Team | Pld | W | L | PF | PA | PD | Pts |
| --- | --- | --- | --- | --- | --- | --- | --- |
| Brazil | 5 | 5 | 0 | 572 | 429 | +143 | **10** |
| Venezuela | 5 | 4 | 1 | 549 | 488 | +61 | **9** |
| Canada | 5 | 3 | 2 | 447 | 423 | +24 | **8** |
| Argentina | 5 | 2 | 3 | 480 | 469 | +11 | **7** |
| Paraguay | 5 | 1 | 4 | 417 | 529 | 112 | **6** |
| Ecuador | 5 | 0 | 5 | 394 | 521 | 127 | **5** |

| **Brazil** | **131**90 | Paraguay |
| --- | --- | --- |

| **Argentina** | **103**71 | Ecuador |
| --- | --- | --- |

| **Venezuela** | **99**78 | Canada |
| --- | --- | --- |

| **Venezuela** | **110**89 | Ecuador |
| --- | --- | --- |

| **Argentina** | **106**85 | Paraguay |
| --- | --- | --- |

| **Brazil** | **101**84 | Canada |
| --- | --- | --- |

| **Paraguay** | **91**87 | Ecuador |
| --- | --- | --- |

| **Brazil** | **131**99 | Venezuela |
| --- | --- | --- |

| **Canada** | **93**83 | Argentina |
| --- | --- | --- |

| **Brazil** | **119**74 | Ecuador |
| --- | --- | --- |

| **Canada** | **94**67 | Paraguay |
| --- | --- | --- |

| **Venezuela** | **130**106 | Argentina |
| --- | --- | --- |

| **Canada** | **98**73 | Ecuador |
| --- | --- | --- |

| **Brazil** | **90**82 | Argentina |
| --- | --- | --- |

| **Venezuela** | **111**84 | Paraguay |
| --- | --- | --- |

## Knockout round

### Championship Bracket

## Classification round

### 5th-8th places

## Final standings

|  | Qualified for the 1990 FIBA World Championship |
| --- | --- |
|  | Qualified for the 1990 FIBA World Championship as World Champions |
|  | Qualified for the 1990 FIBA World Championship as hosts |

| Rank | Team | Record |
| --- | --- | --- |
|  | Puerto Rico | 7–1 |
|  | United States | 6–2 |
|  | Brazil | 7–1 |
| 4 | Venezuela | 5–3 |
| 5 | Canada | 5–3 |
| 6 | Dominican Republic | 5–3 |
| 7 | Cuba | 3–5 |
| 8 | Argentina | 2–6 |
| 9 | Mexico | 1–4 |
| 9 | Paraguay | 1–4 |
| 10 | Panama | 0–5 |
| 10 | Ecuador | 0–5 |

## InfoBox

1989 Tournament of the Americas
| Tournament details | |
| --- | --- |
| Host country | Mexico |
| City | Mexico City |
| Dates | June 8–18 |
| Teams | 12 |
| Venue(s) | 1 (in 1 host city) |
| Final positions | |
| Champions | Puerto Rico (2nd title) |
| Runners-up | United States |
| Third place | Brazil |
| Fourth place | Venezuela |
|


title: Zağarlı, Yüreğir

abstract: Zağarlı is a neighbourhood in the municipality and district of Yüreğir, Adana Province, Turkey. Its population is 108 (2022).

text:
# Zağarlı, Yüreğir

**Zağarlı** is a neighbourhood in the municipality and district of Yüreğir, Adana Province, Turkey. Its population is 108 (2022).

## InfoBox

| Zağarlı | |
| --- | --- |
| Neighbourhood | |
| ZağarlıLocation in Turkey | |
| Coordinates: 36°47′N 35°22′E / 36.783°N 35.367°E / 36.783; 35.367 | |
| Country | Turkey |
| Province | Adana |
| District | Yüreğir |
| Population (2022) | 108 |
| Time zone | UTC+3 (TRT) |


title: Mark Ivey

abstract: Mark Ivey is an American college football coach who is the linebackers coach at the University of Louisville. A longtime high school football coach in Florida, he joined the college coaching ranks at his alma mater, Appalachian State, in 2012, serving as their interim head coach in 2018 when Scott Satterfield departed to be the head coach at Louisville. He followed Satterfield to Louisville in 2019 to serve as his defensive line coach.

text:
# Mark Ivey

**Mark Ivey** (born July 11, 1973) is an American college football coach who is the linebackers coach at the University of Louisville. A longtime high school football coach in Florida, he joined the college coaching ranks at his alma mater, Appalachian State, in 2012, serving as their interim head coach in 2018 when Scott Satterfield departed to be the head coach at Louisville. He followed Satterfield to Louisville in 2019 to serve as his defensive line coach.

## Coaching career

### High school coaching

After graduating from Appalachian State in 1996, Ivey coached the freshman offensive and defensive line at Port Charlotte High School in Florida. He spent the 1997 season at Cape Coral High School as an assistant, before going on to coach the offensive line and serve as the defensive coordinator at Gulf Coast High School. He was also the head coach at Cypress Lake High School and Barron G. Collier High School from 2002 to 2006 and 2007 to 2011, respectively. At Barron Collier, he compiled a 36–19 record, led them to state playoff appearances all five years of his tenure, and won three consecutive district championships from 2007 to 2009.

### Appalachian State

Ivey was named the outside linebackers coach and special teams coordinator at his alma mater Appalachian State in 2012, working under former teammate Scott Satterfield. He was reassigned to defensive line coach in 2014 and later added the title of assistant head coach in 2018.

Ivey was named the interim head coach in 2018 after Satterfield departed to take the head coaching job at the University of Louisville. He coached the team in their bowl game against Middle Tennessee, where the Mountaineers won by a score of 45–13. His interim tag was not removed at the end of the season, and Eliah Drinkwitz was hired to be the new head coach.

### Louisville

Ivey was officially named the defensive line coach at Louisville in 2019, joining Satterfield once again. In 2023, Ivey elected to remain with Louisville under new coach Jeff Brohm as linebackers coach.

## Head coaching record

### College

| Year | Team | Overall | Conference | Standing | Bowl/playoffs |
| --- | --- | --- | --- | --- | --- |
| **Appalachian State Mountaineers** *(Sun Belt Conference)* (2018) | | | | | | | | |
| 2018 | Appalachian State | 1–0 ‡ |  |  | **W** New Orleans |
| **Appalachian State:** | | 1–0 |  | ‡ Served as interim HC for bowl game | | | | |
| **Total:** | | 1–0 |  | | | | | | |

## InfoBox

Mark Ivey
| Current position | |
| --- | --- |
| Title | Linebackers coach |
| Team | Louisville |
| Conference | ACC |
| Biographical details | |
| Born | (1973-07-11) July 11, 1973<br>Collinsville, Virginia U.S. |
| Playing career | |
| 1991–1995 | Appalachian State |
|  | |
| Position(s) | Linebacker, Defensive lineman |
| Coaching career (HC unless noted) | |
| 1996 | Port Charlotte HS (FL) (OL/DL) |
| 1997 | Cape Coral HS (FL) (assistant) |
| 1998–2001 | Gulf Coast HS (FL) (DC/OL) |
| 2002–2006 | Cypress Lake HS (FL) |
| 2007–2011 | Barron G. Collier HS (FL) |
| 2012–2013 | Appalachian State (ST/OLB) |
| 2014–2017 | Appalachian State (DL) |
| 2018 | Appalachian State (AHC/DL) |
| 2018 | Appalachian State (interim HC) |
| 2019–2022 | Louisville (DL) |
| 2023–present | Louisville (LB) |
|  | |
| Head coaching record | |
| Overall | 1–0 (college) |
| Bowls | 1–0 |
|  | |


title: Solovetsky Stone (Saint Petersburg)

abstract: The Solovetsky Stone is a monument to the victims of political repression in the Soviet Union and to those who have fought and fight for freedom. It stands in Troitskaya (Trinity) Square in Saint Petersburg, near several other buildings directly related to political repression in the Soviet era—the House of Tsarist Political Prisoners; the prison and necropolis of the Peter and Paul Fortress; and the Bolshoy Dom or headquarters of the NKVD, both in the city and the surrounding Leningrad Region. Nowadays, the Stone also serves as a focus for commemorative events and for gatherings related to current human rights issues. The monument consists of a large boulder brought from the Solovetsky Islands in the White Sea, where the Solovki prison camp opened in 1923. The camp was the malignant cell which, in Solzhenitsyn's metaphor, metastasized to create the entire Gulag network of forced labour camps. The Stone is a fitting symbol of the Gulag and the related practices of political terror. The Memorial society in Petersburg was behind the creation of the monument. It was designed by Yuly Rybakov and Yevgeny Ukhnalyov, both political prisoners during the Soviet period.

text:
# Solovetsky Stone (Saint Petersburg)

The **Solovetsky Stone** is a monument to the victims of political repression in the Soviet Union and to those who have fought and fight for freedom. It stands in Troitskaya (Trinity) Square in Saint Petersburg, near several other buildings directly related to political repression in the Soviet era—the House of Tsarist Political Prisoners; the prison and necropolis of the Peter and Paul Fortress; and the Bolshoy Dom or headquarters of the NKVD, both in the city and the surrounding Leningrad Region. Nowadays, the Stone also serves as a focus for commemorative events and for gatherings related to current human rights issues.

The monument consists of a large boulder brought from the Solovetsky Islands in the White Sea, where the Solovki prison camp opened in 1923. The camp was the malignant cell which, in Solzhenitsyn's metaphor, metastasized to create the entire Gulag network of forced labour camps. The Stone is a fitting symbol of the Gulag and the related practices of political terror. The Memorial society in Petersburg was behind the creation of the monument. It was designed by Yuly Rybakov and Yevgeny Ukhnalyov, both political prisoners during the Soviet period.

## Design and symbolism

The monument comprises the Solovki Stone, a massive granite slab from the Solovetsky Islands, where the Solovki concentration camp operated in the 1920s and 1930s. The prison camp's diminutive name "Solovki" became shorthand in Russian for a punitive network of camps that already held more than 100,000 inmates in the 1920s. Between the 1930s and 1950, it has been estimated, the number of people who passed through the Gulag (as it later became known) reached 18 million, at least 1,500,000 of whom died in the camps. The Gulag traumatized the population and had a lasting impact on several generations; it left its imprint on many aspects of society and culture.

The granite slab was selected from among the boulders near the Savvatiyev Skethe (hermitage), which was used to house political prisoners in the 1920s. There on 19 December 1923, guards and a special firing squad shot and killed protesting prisoners. The massacre marked a new stage in the repressive measures employed by the Soviet regime, and set an important precedent for resistance. Some sources assert that the stone was taken from Mount Sekirna, a hill in the vicinity of the Skethe. The Voznesensky Skethe (hermitage) on Mount Sekirna was used as a punishment block and execution yard.

As an artefact from "that very place", keeping in touch with "the spirit of our ancestors", the Solovki Stone symbolizes a pre-Christian idea of continuity and the hereditivity of existence. In its designers conception, the stone's rough aesthetics endow it with a "backbone of personality that endures despite confronting faceless evil".

The monument design is minimalist and it has a non-religious, secular character. It features a crude granite slab, 1.7 m (5 ft 7 in) high, mounted on a square granite pedestal (0.35 m × 2.35 m × 2.3 m \[1 ft 2 in × 7 ft 9 in × 7 ft 7 in\]), itself based on a concrete impost surrounded by granite footings.0.2 m (7.9 in) high. The edges are oriented on the four cardinal points of the compass. From a certain angle, the stone resembles an elephant, which in Russian ('слон', 'slon') sounds like the abbreviation S.L.O.N. \[Соловецкий лагерь особого назначения\], the formal title of the "Solovetsky Special Purpose Camp".

## Inscriptions and location

The monument also conveys its meaning through the inscriptions on the pedestal.

Its north face reads, "To the inmates of the Gulag" \[Узникам ГУЛАГа\]; the west face reads, "To those who fight for freedom" \[Борцам за свободу\]; and the east face reads "To the Victims of Communist Terror" \[Жертвам коммунистического террора\]. The south face carries words from Anna Akhmatova's long poem *Requiem*: "I would like to recall them all by name". The monument does not list any names, because not all the victims are yet known. Yuly Rybakov, one of the designers, consider the western insscription the most important because it commemorates not only the victims, but also all who have fought against the repressive system. The lines on the east face explicitly name those responsible for the terror, a rare thing among similar monuments in Russia. The direct mention of communism as the reason for this catastrophe, believes historian Alexander Etkind, makes the monument of universal significance. The text on the Solovki Stone says nothing about its background. Its authors believe this should stir the interest of passers-by and make them curious to find out more.

The monument is dedicated to all who were "shot, arrested, exiled, banned, broken by the Communist regime—whose graves are lost and fate unknown". The Memorial Society in St Petersburg, which initiated and sponsored the monument's creation, offered the following description of its significance:

> "This monument is a gift to the city on its 300th Anniversary from former political prisoners, who treasure freedom and human dignity more than personal safety and well-being. The Solovetsky Stone in Troitskaya Square is the symbol of free social thoughts, political and civic liberties. This monument pays tribute to all the victims of purposeless terror, it commemorates our fellow citizens, who suffered from political repression. It honors those who fought for human dignity among triumphant cruelty and didn't succumb to evil, preserving inner personal freedom and remained human in an inhuman world. This monument shows how a strong individual can overcome the totalitarian regime; it rejects violence and xenophobia. We live in an unstable country, which cannot guard our rights and freedom. So let this stone serve our freedom."

The location of the Solovki Stone is itself significant.

The "Former Political Convicts" Residential Home (FPCRH) standing in front of the monument was built by the Soviet government in the early 1930s. It was intended for the revolutionaries and political activists, persecuted by the State police in Imperial Russia. Ironically, many inhabitants of the FPCRH fell victims of the Great Terror in 1937–1938. During the 1917 October Revolution the buildings of the Museum of Political History of Russia (St. Petersburg) to the north of Troitskaya square housed the Bolshevik authorities, who later headed the coup d'etat and initiated State Terror. On the Field of Mars across the Neva there is a memorial necropolis, dedicated to the revolutionaries of 1917. This proximity is a vivid illustration, historian Zuzanna Bogumil believes, of the way in which "the revolution devours its children". Across the Neva to the east is the Bolshoy Dom. The headquarters of the NKVD was built in the 1930s: today it houses its successor, the FSB. To the west, Troitskaya Square adjoins the Peter and Paul Fortress where, since Tsarist times, the Trubetskoy Bastion has been used as a political prison. After the revolution, the Soviet government incarcerated political prisoners here, and it would later become the first location of the Great Terror. A mass grave was discovered beneath the Golovkin Bastion of the fortress in 2007. It contained the bodies of victims of the Red Terror, perhaps even four of the Grand Dukes of Russia. In 2003 the Holy Trinity Chapel was built northeast of the Solovki Stone, and marks the location of the Old Trinity Cathedral. The Cathedral was demolished in 1933 during the antireligious campaign of the Soviet Government.

The Trinity \[Troitskaya\] Square, furthermore, is the oldest administrative centre of St. Petersburg. Peter the Great, Zuzanna Bogumil reminds us, established the city and commanded that it develop, no matter what the human cost. Therefore, the Solovki Stone also epitomises the problem throughout Russian history of the inhuman treatment people have received.

## History

### 20th century—1961–1998

The idea of commemorating the victims of Soviet repression was first publicly proposed in October 1961 at the 22nd Congress of the Communist Party of the Soviet Union. When Nikita Khrushchev's program of De-Stalinisation ended in 1964, however, such a concept was abandoned and in the post-Khrushchev era political dissidents were once again repressed. The idea persisted among Soviet dissidents during the 1970s. In the 1980s, during perestroika, the policy of democratization and a relaxation of censorship finally allowed open discussions of the previously forbidden topic of State Terror. At the end of the 1980s, the Memorial society was established. One of its major tasks was to commemorate the victims of political repression. At first it made a start only in Moscow, but after the St. Petersburg branch was founded in 1988 it became an active participant of the society's work.

In June 1989 the Leningrad branch of the Memorial society called on citizens to create a monument in honour of the victims of political repression. As envisioned by the initiators, the monument should also be accompanied by a museum and an archive. Several locations were considered for the future monument: the Levashovo Memorial Cemetery; the Bolshoy Dom, NKVD (and KGB) headquarters in Leningrad; the Kresty Prison; and Troitskaya Square (then called Revolution Square) opposite the Former Political Convicts Residential Home. Memorial invited all citizens to join the discussion of the idea and initiated the fundraising campaign.

On 27 March 1990, the Executive Committee of the Leningrad City Congress of People's Deputies announced "an open competition on the best concept, location and design offer of a monument in honour of the victims of Stalin's terror". Troitskaya Square had been chosen as the preferred location. Activists protested and demanded commemoration of all victims of Soviet repression. As a result, on 17 June 1992, the Leningrad City Congress cancelled the competition before it had begun.

Memorial seized the initiative. Instead of the desired monument (which would require serious investments of time and money) a small, temporary sign would be created as a placeholder, the society announced. On 4 September 1990, the last day of an "International Conference on Human Rights" in the city and on the eve of the memorial day for "Victims of the Red Terror" (5 September), a square granite base was installed on Trinity Square. "On this site a monument to the victims of political repression will one day stand," the inscription on its surface read. The base was crowned with a bronze wreath of barbed wire, and words from Akhmatova's *Requiem* ("I Would like to recall them all by name") were engraved on the south edge of the base. it was designed by the artist Dmitry Bogomolov.

On 1 October 1990, the Leningrad authorities started a new round of the project competition in motion.

This time it considered the demand to widen the monument's message to "condemn all violence and illegality, neglection of political and any other intolerance" without reference to specific historical events. The panel of judges was headed by two persons directly affected by the Red Terror: artist Andrei Mylnikov, whose father was executed in 1918, and art expert Dmitry Likhachov, a survivor of the Solovki camp. In spring 1991, the entries were displayed in the State Museum of the History of St. Petersburg. On 3 June 1991, the jury discussed them and selected the proposal of Dmitry Bogomolov which depicted a bronze human figure, crushed and crucified between four rocks. The lettering on the rocks was a record of political campaigns of repression in Petrograd-Leningrad. Soon the city administration lost interest, however, and the competition was cancelled.

In 1995–1996 with the help from the Mayor of Saint Petersburg, Anatoly Sobchak, other memorials to the "victims of political repression" were unveiled in the city: Mihail Chemiakin's "Metaphysical Sphinxes" on the bank of the Neva opposite the Kresty Prison, and the "Moloch of Totalitarianism" by the entrance to the Levashovo Memorial Cemetery. Both were widely criticized by activists and former political prisoners: the message of the monuments was unclear, they said, so was the depiction of evil and violence. In 1996, the municipal authorities announced that they would build a memorial monument based on the ideas of Edward Zaretsky, a Leningrad-based sculptor and a member of local Jewish community. Zaretsky founded the Tsayar artistic association and went on to create such monuments as that to "Jews who fell victim to political repression" (1997) at the Levashovo Memorial Cemetery. In 1998, Memorial's co-founder Veniamin Joffe publicly criticized the city administration for ignoring the future monument's location during the reburial ceremony of the remains of the last Romanovs, even though the procession passed through Troitskaya Square.

For over ten years the city authorities back-pedalled over the proposal. Memorial's wish for a grander monument vanished after the 1998 Russian financial crisis: many similar initiatives across the country then met the same fate. In the late 1990s, the bronze wreath was stolen from the pedestal by vandals.

### 21st century—2002

At the turn of the new millennium, Memorial renewed its efforts to create a monument. The socio-political climate in Russia was again hardly amenable: the country's new president Vladimir Putin was an officer of the KGB. Certain activists did not believe that the St Petersburg authorities would permit construction of the monument. Veniamin Joffe decided, nevertheless, to follow the example of Arkhangelsk and Moscow and requested permission to install a boulder from the Solovki Archipelago. After Joffe's untimely death in 2002 his widow Irina Flige took up the task.

On behalf of Memorial she wrote to the city administration, formulating the main points of the future monument in her letter:

> "The commemoration of the victims of political repression is inseparable from zero tolerance towards any form of ideological violence and political terror. There should be no features associated with evil and death about the monument, of tyranny over the human soul. The absolute political terror which arose throughout all our Soviet history resulted in the deaths of people of various confessions: Orthodox Christians, Muslims, practising Jews, Baptists, and even atheists. For that reason the monument should be non-sectarian. In light of the above, we consider a granite boulder from the Solovki Islands to be the best option, using the present square granite memorial base as a pedestal. The Solovki concentration camp symbolizes the Gulag in the history of our country. The Solovki Stone will become a decent memorial to those whom we lost to indiscriminate terror".

In March 2001, the monument was included in the programme for the tercentenary celebrations of the founding of Saint Petersburg but received no budget allocation.

Petersburg's Solovki Stone was designed by artists Yuly Rybakov and Yevgeny Ukhnalyov (the latter devised Russia's national coat of arms). Both had suffered political repression during the Soviet period. The monument was funded by donations, mostly from former political prisoners and their families. NGOs such as Memorial and Civil Control \[grazhdanskaya kontrol\], and the Union of Right Forces political party, made substantial contributions. During their expedition to Solovki to select a suitable boulder Rybakov, Ukhnalyov and Flige found a massive granite slab near the former Savvatyev Skethe (hermitage). Transporting the hefty 10,400 kilograms \[22,900 lb\] boulder to St. Petersburg was a challenge but they were assisted by local fishermen and industrial workers and by the staff of the Solovki museum.

The unhewn stone was successfully transported to St. Petersburg where on 4 September 2002 it was installed on the pedestal. Three more inscriptions were added around the four edges of the base. It was 12 years to the day since the base was put in position. The official inauguration took place on 30 October on the Day in Remembrance of the Victims of Political Repression, which coincided with the 300th Anniversary of St. Petersburg. City Governor Vladimir Yakovlev issued Decree No. 2572-pa, making the Solovki Stone city property as of 15 October 2002.

## Public activities and reactions

Every year on 5 September a ceremony remembering and mourning the loss of victims of "Political Repression and the Red Terror" in Soviet Russia takes place near the Solovki Stone. Among other annual demonstrations is "Restoring the Names", reading aloud the names of victims of political repression in Soviet Russia. The Solovki Stone has also become a focus for public gatherings variously devoted to the victims of political terror, memorable dates in Russia's history, human rights initiatives and against violence and xenophobia. Anna Politkovskaya, Natalya Estemirova, Stanislav Markelov and Anastasia Baburova, Alexei Devotchenko, Natalya Gorbanevskaya, Valeriya Novodvorskaya, Boris Nemtsov, Vladimir Bukovsky, and others have been commemorated here.

The first Saturday in June is a Day in Remembrance of the Victims of the Petrograd and Leningrad Prisons; it takes place near the Solovki Stone, followed in early August by gatherings to mark the beginning of the Great Terror. On 17 December, the anniversary of the enactment of Stalin's punitive 1933 law against gay people, LGBT activists lay floral tributes on the pedestal of the monument. There are usually protests each year on 20 December, the "Day of Secret Police Workers" \[День работника органов безопасности Российской Федерации\]. Gatherings in support of those charged in the Bolotnaya Square case, the Network case and other oppressed people have also been held here.

The Solovki Stone in St. Petersburg has been vandalized several times. Within months of its inauguration it was daubed with swastikas and comments such as "not enough were killed", "slaves", etc. The attacks were repeated in 2003, 2007, 2012, and 2013. In 2013, for the first time, the issue of liability for the monument's condition was raised . Finally Petersburg's ombudsman Alexander Shishlov demanded clarification of the monument's status. In 2015 the traditional December Memorial Day was disturbed by people marching beneath portraits of Adolf Hitler. Neither the city administration or the local police intervened and human rights activists concluded that the march was a provocation staged by the city authorities. In 2018 the Last Address civic initiative and the Solovetsky Stone were publicly criticized by nationalist Aleksandr Mokhnatkin. On 30 October 2018, City Governor Alexander Beglov laid flowers at the monument.

1. Some researchers criticize this choice because the incident at the infirmary, the Savvatiyev Skethe, was only a small episode in the history of the Solovki camp and the Gulag. It was a prison for former revolutionaries of 1917, moreover, who enjoyed privileges because of their special status as political prisoners: they had much better conditions than other convicts. Other researchers consider their protest was not a rebellion intended to protect the human rights of all prisoners, but merely a fight for their own privileged status.
2. Some have criticized this idea for its mystical and religious undertones. The Russian Orthodox Church used the same concept, however, in designing the cross at the Butovsky which is also based on the Solovki Stone and was made on the Solovetsky Islands.
3. As rumored in the Soviet times, the Bolshoy Dom was a place where political prisoners were tortured and murdered. However, in fact the victims were moved out and killed on other locations.
4. Such proximity to sites of State Terror, some say, emphasize the significancwe and continuing relevance of the Solovki Stone. Others suggest that the monument's location next to a site where earlier killings took place demonstrates that the old political regime was not fully replaced by the new.

Information under Location of the Solovetsky Stone has erroneously listed buildings in St Petersburg instead of Moscow.

## Sources

**Latin alphabetical order**

## InfoBox

| The Solovetsky Stone | |
| --- | --- |
| *A monument to the Victims of Political Repression*, Russian: *Соловецкий камень* | |
|  | |
| Artist | Yuly Rybakov, Yevgeny Ukhnalyov |
| Completion date | 4 September 1990 (4 September 1990): Pedestal<br><br>4 September 2002 (4 September 2002): Solovki Stone |
| Medium | Granite |
| Movement | Minimalism |
| Dimensions | 225 cm × 230 cm × 235 cm (89 in × 91 in × 93 in) |
| Weight | 10,400 kg |
| Location | Saint Petersburg |
| Coordinates | 59°57′08″N 30°19′34″E / 59.952313°N 30.326125°E / 59.952313; 30.326125 |


title: Samuilovo, Dobrich Province

abstract: Samuilovo is a village in the municipality of Dobrichka, in Dobrich Province, in northeastern Bulgaria.

text:
# Samuilovo, Dobrich Province

**Samuilovo** is a village in the municipality of Dobrichka, in Dobrich Province, in northeastern Bulgaria.

## InfoBox

| Samuilovo | |
| --- | --- |
| Village | |
| SamuilovoLocation in Bulgaria | |
| Coordinates: 43°35′06″N 27°38′24″E / 43.585°N 27.640°E / 43.585; 27.640 | |
| Country | Bulgaria |
| Province | Dobrich Province |
| Municipality | Dobrichka |
| Time zone | UTC+2 (EET) |
| Summer (DST) | UTC+3 (EEST) |


title: San Francisco del Valle

abstract: San Francisco del Valle is a municipality in the Honduran department of Ocotepeque.

text:
# San Francisco del Valle

**San Francisco del Valle** is a municipality in the Honduran department of Ocotepeque.

## Demographics

At the time of the 2013 Honduras census, San Francisco del Valle municipality had a population of 9,625. Of these, 86.61% were Mestizo, 10.00% White, 2.68% Indigenous (2.46% Chʼortiʼ), 0.58% Black or Afro-Honduran and 0.14% others.

14°26′N 88°57′W / 14.433°N 88.950°W / 14.433; -88.950

## InfoBox

| San Francisco del Valle | |
| --- | --- |
| Municipality | |
| San Francisco del Valle | |
| Coordinates: 14°26′N 88°57′W / 14.433°N 88.950°W / 14.433; -88.950 | |
| Country | Honduras |
| Department | Ocotepeque |
| Villages | 6 |
| Area | |
| Total | 109.51 km2 (42.28 sq mi) |
| Population (2015) | |
| Total | 9,839 |
| Density | 90/km2 (230/sq mi) |


title: San Francisco in popular culture

abstract: Depictions of San Francisco in popular culture can be found in many different media. San Francisco is frequently used with its iconic landmarks such as the Golden Gate Bridge, Alcatraz and cable cars; social change of the Asian immigration, Summer of Love and the economic California Dream of the Gold Rush and Silicon Valley.

text:
# San Francisco in popular culture

Depictions of **San Francisco in popular culture** can be found in many different media. San Francisco is frequently used with its iconic landmarks such as the Golden Gate Bridge, Alcatraz and cable cars; social change of the Asian immigration, Summer of Love and the economic California Dream of the Gold Rush and Silicon Valley.

## Literature

San Francisco's diversity, eccentric characters, and geographic scenery have provided a backdrop for many works of fiction, including:

### Non-fiction

## Film

As in the case of fiction novels, San Francisco has served as a backdrop to a large number of films, some of which show the Golden Gate Bridge. Films set in the city include:

## Documentary

## Television

Although the city is a frequent backdrop for many television shows, many 80s sitcoms set in San Francisco (such as *Full House*) were actually shot in studios in the Los Angeles area. Since the mid-90s, many productions supposedly set in the City by the Bay are actually filmed in Canada, most notably in Vancouver, a frequent double for the cities of San Francisco and Seattle on the small screen. Canadian provinces often offer attractive tax incentives and more flexible union regulations for production companies.

*Monk* was shot in Vancouver before moving to Los Angeles, and only a few exterior shots involving San Francisco landmarks are actually filmed in the city. Similarly, recent short-lived series such as *Presidio Med*, *The Evidence* or *Killer Instinct* were actually shot in the Los Angeles or Vancouver areas. The city of San Francisco has tried to counter this trend over the past few years by reducing filming fees and streamlining the permit approval process.

San Francisco is also a vital part of the *Star Trek* science fiction media franchise. It hosts the headquarters and council chambers of the United Federation of Planets, as well as its military/exploration arm, Starfleet. In addition, the Presidio hosts Starfleet's primary service academy, Starfleet Academy. A major Federation shipyard named after the city, site of the construction and refit of several starships named *Enterprise*, resides in geosynchronous orbit of Earth.

The TV shows *Trauma*, *Midnight Caller*, *The Streets of San Francisco* and *Nash Bridges* were filmed entirely in the San Francisco Bay area. The Nash Bridges Reboot pilot started shooting in 2021, 20 years after the final episode of the original series aired.

### Fiction

Television programs that highlight the city and its people include:

### Reality

### Miniseries, specials or individual episodes

## Music

## Video games

In the *Carmen Sandiego* computer games, the headquarters of the ACME Detective Agency is always located in San Francisco.

The *Rush* racing series is largely based in San Francisco, especially *San Francisco Rush: Extreme Racing* and *Rush 2049*.

In *Sim City*, there is a scenario re-creating the 1906 San Francisco earthquake.

San Francisco is the backdrop for all five *Tex Murphy* games by Access Software. The eponymous detective makes the POST WWIII city his home and his cases start there even if they don't ultimately come to resolution there. The games feature prominent S.F. landmarks such as The Golden Gate Bridge, Coit Tower, and Alcatraz. In The Pandora Directive, there are 3 paths the story takes: Mission Street – The High Moral Path; Boulevard of Broken Dreams – The Low Moral Path; and Lombard Street – The In between (or Back and Forth) Moral Path.

*Manhunter 2: San Francisco* from Sierra On-Line (1989) was set in San Francisco, and included visits to such local landmarks as Fisherman's Wharf and Alcatraz Island.

San Francisco is one of the key locations in *Fallout 2*.

San Francisco is a level in both *Tony Hawk's Pro Skater* and in *Tony Hawk's Pro Skater 4*.

It's one of the four playable cities in *Driver* and the main setting of *Driver: San Francisco*.

The City of San Fierro in *Grand Theft Auto: San Andreas* is largely based on San Francisco, though significantly smaller and with slightly more of a focus on Rural areas.

San Fierro features Rockstar's interpretations of the Haight-Ashbury district ("Hashbury"), the Castro district ("Queens"), Chinatown, and the Golden Gate Bridge ("Gant Bridge"), as well as the city's prominent cable cars and hilly terrain. Several other familiar landmarks have been recreated, from the Ferry Building and the Transamerica Pyramid ("Big Pointy Building") to Lombard Street ("Windy Windy Windy Windy Windy Street"), and Scottish landmarks such as the Forth Bridge and the Forth Road Bridge. There is a district known as "Garcia", a tribute to Grateful Dead frontman and San Francisco native Jerry Garcia, and San Fierro's City Hall closely resembles San Francisco's ornate City hall.

In *Destroy All Humans! 2*, the first level is in Bay City, a parody of San Francisco featuring the Coit Tower, Alcatraz (called 'The Rock') and Hashbury Street, as well as the Golden Gate Park.

*Resistance 2* for the PlayStation 3 based its first level on the edge of San Francisco in an underwater secret base belonging to SRPA. A memorable moment was when Nathan Hale steps outside to see the Chimeran fleet hovering over a destroyed San Francisco with the Oakland Bay Bridge in flames.

*Call of Duty: Black Ops II* features the "Raid" multiplayer map in California, along with the zombies map "MOB of the Dead," set in and around the Alcatraz Prison, seemingly infested by the undead.

*Call of Duty: Advanced Warfare* features the Golden Gate Bridge in the mission "Collapse".

*Mario Kart 8* for the Wii U features a race course named Toad Harbor, which is heavily based on San Francisco.

*Watch Dogs 2* is based in San Francisco and the surrounding Bay Area.

In *Sonic Adventure 2*, the first level is City Escape, which is based on San Francisco. This level also reappears in *Sonic Generations*.

San Francisco is an explorable city in American Truck Simulator.

Mostly in ruins and barely recognizable, San Francisco is partially shown in Horizon: Forbidden West.

## Advertising


title: William Wright (Canadian bishop)

abstract: William Lockridge Wright was a Canadian Anglican bishop in the 20th century.

text:
# William Wright (Canadian bishop)

**William Lockridge Wright** (September 4, 1904 - January 19, 1990) was a Canadian Anglican bishop in the 20th century.

## Personal life and education

Wright was born into an ecclesiastical family on 8 September 1904 in Roslin, Ontario. He was educated at Queen's University, Kingston, Ontario and ordained in 1927. He married Margaret Clare on July 30, 1936 in the former Chapel of Trinity College, Toronto. Wright and his wife had four children and thirteen grandchildren.

## Early career

After a curacy at St George's, Toronto he was then the Incumbent at St James', Tweed from 1928 to 1932. His next appointment was as a curacy at Christ's Church Cathedral (Hamilton, Ontario). In 1936 he became rector at Church of St. George the Martyr, Toronto. He became rector of St. Luke's Cathedral (Sault Ste. Marie) in 1940 and 1941 he became Dean of St Luke's.

## Bishop and Metropolitan

On May 30, 1944 Wright was consecrated as Bishop of Algoma. At the time of his election as Bishop he was the youngest to ever be elected to the House of Bishops. In 1955 he also became Metropolitan of Ontario, posts he held until 1974.

While holding the position of Bishop of Algoma, Wright established the Archbishop Wright Extension Fund on January 16, 1957. This fund was designed to help purchase new sites for churches and rectories, and assistant in church extension projects across Algoma. The fund resulted in more than twenty churches and twenty rectories being built. The fund also provided capital funds for the building of Thorneloe University in Sudbury, Ontario. Wright went on to serve as the first Chancellor of Thoneloe University.

In 1970, following the retirement of Archbishop Howard Clark, Wright was temporarily made the Acting Primate of All Canada. He was also elected Chairman of the Anglican Council of North America and the Caribbean in 1970. Wright also served as co-chairman of the General Commission on Church Union in Canada.

He died on 19 January 1990.


title: The Economics of Imperfect Competition

abstract: The Economics of Imperfect Competition is a 1933 book written by British economist Joan Robinson.

text:
# The Economics of Imperfect Competition

***The Economics of Imperfect Competition*** is a 1933 book written by British economist Joan Robinson.

## Contents

The book discusses the views of Alfred Marshall and Arthur Cecil Pigou on competition and the theory of the firm. Marshall believed that competition was imprecise, with prices being influenced by the rise and fall of demand. He also used the analogy of trees in a forest to explain how firms grow and establish a monopoly. Pigou, on the other hand, presented a logical system where perfect competition occurs when firms produce at a level where marginal cost equals price. He explained that firms operate at less than full capacity due to falling demand curves and maximization of profits at a certain output level. Robinson highlights the limitations and simplifications made in Pigou's analysis, particularly in terms of assumptions about demand conditions and the concept of price policy in manufacturing industries.

She highlights the distinction between tool-makers and tool-users in economics. The book is presented as a box of tools for analytical economists, but it acknowledges that the direct contribution to understanding the real world is limited. The gap between the tool-makers and tool-users is recognized, as economists often provide poor or misleading information to practical individuals. However, the solution is not to abandon the tools but to refine and perfect them to better address practical needs. The importance of stating assumptions clearly is emphasized, as economists sometimes struggle to do so due to a sense of shame or a lack of knowledge of their own assumptions. She stresses the need for economists to be frank about their assumptions and to approach problems in a way that has a chance of finding answers.

## Summary

Structure of the book:

Book I: The Technique - This book establishes the necessary definitions and assumptions for the discussions that follow. It introduces the basic concepts and lays the groundwork for the analysis.

Book II: Monopoly Equilibrium - This book focuses on the determination of prices by a single producer operating in a monopoly setting. It examines the factors that influence the price charged by a monopolist, considering both the conditions of demand and the costs involved.

Book III: Competitive Equilibrium - This book delves into the analysis of the supply curve of a commodity based on the results obtained in the previous book. It introduces a new element by considering the impact of monopoly profit on the number of producers in the industry. It also explores the effect of changes in demand on individual sellers' costs and analyzes the supply curve of a commodity under perfect competition.

Book IV: The Comparison of Monopoly and Competitive Output - This book compares the output of a perfectly competitive industry with that of a monopoly when the number of independent producers is reduced to one. It explores the differences in output levels and examines the control of monopoly price. The book also addresses objections to these comparisons, highlighting their limitations and unrealistic assumptions.

Book V: Price Discrimination - This book explores the practice of price discrimination, where a single firm charges different prices for the same commodity. It discusses the concept of price discrimination and raises reflections on its desirability.

Book VI: Monopsony - This book shifts the focus to the perspective of an individual buyer. It analyzes prices from the point of view of a monopsonist, a single buyer facing multiple sellers. It introduces definitions and considerations related to the buyer's position and examines the relationship between monopoly, monopsony, and perfect competition.

Book VII: The Demand for a Factor of Production - This book deals with the demand curve for a factor of production, specifically labor. It explores the demand for labor from the perspective of an individual employer and analyzes the demand for labor at the industry level. The analysis parallels the earlier discussions on the supply curve of a commodity.

Book VIII: The Comparison of Monopoly and Competitive Demand for Labor - This book compares the demand for labor under monopoly and perfect competition, similar to the comparisons made in Book IV for output levels. It addresses the objections and limitations of these comparisons and completes the analysis of the demand side.

Book IX: Exploitation - This book examines the prices of factors of production, shifting the perspective from the employer to the owners of the factors (such as labor). It explores the concept of exploitation and analyzes the prices of factors of production in relation to perfect competition. Ethical reflections and considerations are also introduced.

Book X: A World of Monopolies - This book moves away from the theory of value and delves into the Economics of Welfare. It connects the analysis of monopoly value with the work of Pigou on welfare economics. The book raises ethical questions and explores the implications of a world dominated by monopolies.

## Reception

A contemporary review from *The Economic Journal* in 1933 noted that the book is interesting and stimulating despite editorial limitations. The book was also reviewed in *The Journal of Political Economy* and *Journal of the Royal Statistical Society.*


abstract: "What Is and What Should Never Be" is the twentieth episode of the paranormal drama television series Supernatural's second season. It was first broadcast on May 3, 2007 on The CW. The narrative follows series protagonist Dean Winchester who finds himself in an alternate reality after a confrontation with a djinn [sic]. The creature appears to have fulfilled Dean's greatest wish: that his mother had not been killed when he was a child. Dean is happy in the new world until it becomes apparent that his previous work as a hunter of supernatural creatures has been undone. At this point, he rejects the alternate reality, and attempts to find a method to bring himself back. The episode was written by Raelle Tucker, and marked the directorial debut of series creator Eric Kripke. It featured the return of deceased characters Mary Winchester and Jessica Moore. Kripke enjoyed expanding upon the character of Mary, who was only briefly depicted in earlier episodes. The production schedule had to be altered to accommodate Palicki, who was simultaneously working on the TV series Friday Night Lights. Despite obtaining low ratings, the episode acquired positive critical reviews that both praised Ackles' performance and welcomed the return of Smith and Palicki to the series. Tucker also received a Constellation Award for her work on the episode.

text:
# What Is and What Should Never Be (Supernatural)

"**What Is and What Should Never Be**" is the twentieth episode of the paranormal drama television series *Supernatural*'s second season. It was first broadcast on May 3, 2007 on The CW. The narrative follows series protagonist Dean Winchester (Jensen Ackles) who finds himself in an alternate reality after a confrontation with a djinn  \[*sic*\]. The creature appears to have fulfilled Dean's greatest wish: that his mother had not been killed when he was a child. Dean is happy in the new world until it becomes apparent that his previous work as a hunter of supernatural creatures has been undone. At this point, he rejects the alternate reality, and attempts to find a method to bring himself back.

The episode was written by Raelle Tucker, and marked the directorial debut of series creator Eric Kripke. It featured the return of deceased characters Mary Winchester (Samantha Smith) and Jessica Moore (Adrianne Palicki). Kripke enjoyed expanding upon the character of Mary, who was only briefly depicted in earlier episodes. The production schedule had to be altered to accommodate Palicki, who was simultaneously working on the TV series *Friday Night Lights*.

Despite obtaining low ratings, the episode acquired positive critical reviews that both praised Ackles' performance and welcomed the return of Smith and Palicki to the series. Tucker also received a Constellation Award for her work on the episode.

## Plot

The episode begins in an abandoned warehouse, where Dean (Ackles) is attacked by the djinn that he is hunting. He suddenly finds himself in a world in which his mother (Smith) was not killed by the demon Azazel. He and his brother Sam (Jared Padalecki) were not raised to be hunters of supernatural creatures, but are no longer close, as Dean is irresponsible, disloyal, and drinks too much in this alternate reality; when a confused Dean calls him for help, Sam thinks that he is drunk. In the new reality, Dean is dating the beautiful Carmen Porter (Michelle Borth), and Sam is at law school and engaged to Jessica (Palicki)another victim of Azazel. Although Dean enjoys his new life, a ghostly young woman seems to be haunting him and he is confronted by an image of corpses in his closet. He realizes that all the people that he and Sam had saved as hunters are now dead, that he and Sam have a distant and somewhat adversarial relationship. After visiting the grave of his father John, who died the previous year of a stroke, Dean decides that he must give up his new-found happiness to save them.

In need of something silvera weakness of the djinnDean breaks into his mother's house to steal a sterling silver knife. However, he is caught by Sam, who thinks he's stealing from their mother. While Dean at first pretends that he needs the knife to repay a gambling debt, he eventually reveals the truth. Although Sam does not believe him, he accompanies his brother to the djinn's warehouse lair. There Dean discovers that the young woman he has been having visions of is a victim of the djinn. It's clear that she is alive but in an hallucinatory statea way for the djinn to keep its victims unresisting while it feedsDean realizes that he, too, is within an illusory world. Knowing that a person wakes up if he or she dies in a dream, he decides to kill himself. Carmen, Jessica, and his mother appear and try to talk him out of it. Dean resists the urge to stay, and awakens in the real world after stabbing himself. Sam, who is already in the warehouse trying to rescue him, is attacked by the djinn, but Dean kills the creature.

## Production

### Writing

> I’m a fan of *Buffy* and one of the episodes I really remember was the one where she woke up in mental institution and you don’t know quite what was reality and what was her old life and what was her new life. I thought that was really interesting, the idea of rebooting *Supernatural* and placing all of these characters in a completely different world...
>
> Kripke on finding inspiration in the *Buffy the Vampire Slayer* episode "Normal Again"

Series creator Eric Kripke's first experience as director was slated for the twentieth episode of the season, and Raelle Tucker was scheduled to pen it. Kripke wanted a script that was as "director-proof as possible", but that would "play with structure and really do something different". He shot down every idea the writers pitched to him until Tucker suggested an alternate reality episode. Drawing inspiration from the *Buffy the Vampire Slayer* episode "Normal Again", Kripke was excited by the concept. He felt Dean's definitive moment was the death of his mother Mary, so the "diversion path" of the new reality would be based on the question, "What if mom never died?" This change allows Sam and Dean to live normal lives, though at the cost of their relationship. The point of the false reality, in Kripke's opinion, was to show that the brothers would not be close if they had not become hunters. The staff tried to persuade him to remove this aspect, but he thought it would be "lame" for Sam and Dean to have a "*7th Heaven* relationship". Once the story was fully developed, Tucker was given free rein over the script; this surprised her because she expected Kripke to "be more of a backseat driver than he was".

The opportunity to bring back the character of Mary Winchester excited Kripke. Though she is a driving force behind the brothers' quest to kill the demon Azazel and is referenced numerous times throughout the first two seasons, her two appearances in the series were very brief. The episode allowed the character to be expanded upon, depicting her as a "really perfect and idyllic mother". However, Kripke felt that Dean would realize something was amiss if he was granted a "perfect dream world", so John Winchester, who died in the second season premiere, remained dead.

The final version of the episode differed from the original concept. It was initially intended for Dean to be a "huge loser" in his new life; being a hunter is what gives him structure and purpose. Without hunting, he would be a jobless barfly. Kripke compared the new reality to a Charles Bukowski novel, but noted that the selfless Dean still preferred the new universe, with Sam happy and living a good life. However, executive producer Robert Singer and others convinced him to change this, because they did not think Dean would be happy suddenly waking up in such a reality. Another variation stemmed from Dean's lack of someone to confide innormally Sam is his confidant. Because the writers found it difficult to communicate Dean's feelings, early drafts of the script included a number of internal monologues. These were ultimately replaced by a scene in which he discusses the djinn with a professor. The studio wanted the scene of Dean and his girlfriend Carmen kissing on the sofa to include sex. However, Kripke could not work it into the script, because he found it unrealistic that she would deliberately be late for her job as a hospital nurse.

### Djinn

Henna tattoos (left) inspired the djinn's appearance in the episode (right).

The writers wanted to use a wish to create the new reality, and chose a genie to facilitate it. The Islamic djinnthe origins of genie folklorebecame the episode's monster, but featured the "bastardized western conception" of wish-granting to fit the episode. To avoid the typical portrayal of genies in popular culturesuch as those from *Aladdin* and *I Dream of Jeannie*they chose to create a "logical twist on the lore" by making the creature vampiric. Tucker originally intended for the creature's feeding method to be mysticalit would inhale its victim's life essence from his or her mouth. However, Kripke preferred to style it more like a horror movie, and had the djinn feed from a shunt in its victim's neck.

The creature's appearance was inspired by an image of a woman with a henna-tattooed back that Kripke found on the internet. He thought it would be intriguing to have the villain's entire body tattooed. The actor who portrayed the djinnMackenzie Grayhad a shaved head, so special effects makeup artist Toby Lindala only used a minor prosthetic to cover Gray's eyebrows. Lindala found the tattoos to be a "particular challenge" because they were "intricate designs". The production schedule could not accommodate the six hours needed to apply the makeup each day, so the actor was booked with the condition that the make-up not be removed for four days. Gray's personal life was affected by this, as people on the street were scared by his appearance. Lindala was surprised that Gray was able to keep the tattoos undamaged outside of filming.

### Filming

Principal photography for the episode took place in Vancouver, British Columbia. Kripke wanted Adrianne Palicki to reprise her role of Jessica MooreSam's deceased girlfriendbut she was busy filming for the Texas-based television series *Friday Night Lights*. Because Jessica was an integral aspect of the storyline, the production schedule was adjusted to accommodate the actress. The first five days of filming commenced for "What Is and What Should Never Be", and production then shifted to "All Hell Breaks Loose, Part One" until Palicki became available for the final three days of filming. However, she was not present for filming of the episode's climax. Instead, the actress filmed her part in front of a blue screen, and was later digitally added into the scene.

Because the series usually has a dark atmosphere, often consisting of "sets with grime and a sense of danger", Kripke wanted there to be a contrast between the two worlds. Therefore, he requested that production designer Jerry Wanek build the "most beautiful, warm, affectionate sets you’ve ever seen". Cinematographer Serge Ladouceur also made the usual shadows and "moody lighting" more colorful and warm. Though it rained almost constantly through filming, perfect weather arose for filming of one of the main contrasting scenesDean mowing the lawn. Kripke wanted it to appear "too perfect to be real", and was able to film the "sunny, beautiful scene". The "creepy" warehouse used as a lair by the djinn was a redesigned warehouse set from the television series *Kyle XY*.

> I had this random idea in my head that Dean going off on a hunt and wanting or not wanting Sam to go with him and Sam coming anyway was very reflective of that first scene where they ran into each other in the pilot, and they got into that first fight. I got obsessed with recreating that...
>
> Kripke on his inspiration to include homages to the pilot

One of the first directors Kripke had become acquainted with and learned from was David Nutter. Kripke thus wanted to include homages to Nutter's work on the pilot; some scenes of the new reality were meant to be recreations from the first episode. The crew attempted to match the camera angles, lighting, and music as much as possible. While Sam and Jessica sleeping together in bed was supposed to be an exact replica of a similar scene, the fight between the brothers differed. Because the new Sam is "pretty much a wussy", Dean is able to take him down instantly. Tucker noted that it was also a "sneaky way" of hinting that the new reality was merely an illusion, as he is "re-experiencing that moment from the pilot because his fantasy world is being generated by what he already knows and has lived".

Many of the photos present throughout the Winchester home were photoshopped by graphic artist Mary-Ann Liu. Each one was discussed and refined, as Kripke felt they were important to show the new Winchester family history. Some pictures, such as Dean at the prom and Sam at graduation, were edited versions of photos from Ackles' and Padalecki's childhood.

### Music

The episode's synthesized orchestral score was written by Christopher Lennertz. As of production of the fourth season, the episode has been his favorite one to score. Lennertz used a solo bassoon for the emotional scenes in the alternate reality rather than the cello he normally uses for Sam and Dean's relationship. He noted that it "set a very interesting lead tone for the episode". Following the series' tradition, the episode also featured rock songs.

## Reception

> This episode touched on the heart of *Supernatural:* brotherly love, sense of duty, saving the lives of people who don't know what's truly out there. So yes, this episode was heartbreaking, but it was a little uplifting as well.
>
> Charles on "What Is and What Should Never Be"

In its original broadcast, "What Is and What Should Never Be" was viewed by an estimated 3.11 million viewers, one of the lowest ratings for the season. Conversely, writer Raelle Tucker won the Constellation Award for "Best Overall 2007 Science Fiction Film or Television Script" for her work on the episode, and the episode garnered positive reviews from critics. Tina Charles of TV Guide "adored" the episode, and considered it to be Jensen Ackles' best performance of the series. She experienced an "emotional roller coaster the entire hour", finding Dean's monologue at his father's grave to be "crushing" but the lawnmower scene to be "hilarious". Likewise, Diana Steenbergen of IGN gave the episode a rating of 9.2 out of 10, praising the quick pace, "heavy" character development, and "ton and a half of angst". She, too, felt that Ackles "hits the ball out of the park", and noted that the episode's humor stemmed from Ackles' willingness to be a "big goofball". Actresses Samantha Smith and Adrianne Palicki were "a treat", although Steenbergen would have liked Jeffrey Dean Morgan to return.

Tom Burns of UGO deemed the episode as "one of the strongest hours of *Supernatural* all season", feeling that "the actors really stepped up their game...and sold every moment". He also noted the "unapologetically emotional" Ackles, who "\[wore\] his joy, sadness, and anxiety all over this face, but always \[kept\] things real and in character". Though Burns believed that "wish-world" stories have been overused in fiction, he felt that Ackles' "hardcore acting chops" allowed the episode to "escape from mediocrity". The "outstanding" and "well crafted" episode was given a 7 out of 7 by TV Squad's Brett Love. He considered the djinn as "one of the better representations" of genies in popular culture, and noted that the creature had the "perfect creepy look to it". He was pleased to see Smith and Palicki return, and found the character of Carmen to be "a nice addition to the family". Don Williams of BuddyTV agreed, and ranked the episode third in his list of the best episodes of the first three seasons. Deeming it the best standalone episode, he noted that it "can be embraced by anyone who enjoys clever writing, great acting, or a shirtless Jensen Ackles".

**General**

1. Knight, Nicholas (2008). *Supernatural: The Official Companion Season 2*. Titan Books. ISBN 978-1-84576-657-3.
2. Knight, Nicholas (April 2008). "Frights! Camera! Action!". *Supernatural Magazine* (3). Titan Magazines.

**Specific**

**Notes**

1. Properly speaking, *djinn* is a plural word. The correct singular is *djinni*.

## InfoBox

| "**What Is and What Should Never Be**" | |
| --- | --- |
| *Supernatural* episode | |
| In the new reality in which Mary Winchester never died, Sam and Dean were never exposed to the supernatural world. Real photographs of Padalecki and Ackles as children were edited together to depict their normal childhood. | |
| Episode no. | Season 2<br>Episode 20 |
| Directed by | Eric Kripke |
| Written by | Raelle Tucker |
| Production code | 3T5520 |
| Original air date | May 3, 2007 (2007-05-03) |
| Guest appearances | |
|  | |
|
|


title: Weekend (Ceylonese newspaper)

abstract: Weekend was an English language weekly newspaper in Ceylon published by Independent Newspapers Limited, part of M. D. Gunasena & Company. It was founded in 1965 as the Weekend Sun and was published from Colombo. In 1966 it had an average net sales of 45,000. It had an average circulation of 48,590 in 1973. The paper later changed its name to Weekend. By 1973/74 the Independent Newspapers publications had become vocal critics of Sirimavo Bandaranaike's government. The government sealed Independent Newspapers' presses and closed it down on 19 April 1974 using the Emergency (Defence) Regulations. Independent Newspapers resumed publication on 30 March 1977 but the three-year closure had taken its toll. Faced financial problems Independent Newspapers and its various publications closed down on 26 December 1990.

text:
# Weekend (Ceylonese newspaper)

***Weekend*** was an English language weekly newspaper in Ceylon published by Independent Newspapers Limited, part of M. D. Gunasena & Company. It was founded in 1965 as the **Weekend Sun** and was published from Colombo. In 1966 it had an average net sales of 45,000. It had an average circulation of 48,590 in 1973. The paper later changed its name to *Weekend*.

By 1973/74 the Independent Newspapers publications had become vocal critics of Sirimavo Bandaranaike's government. The government sealed Independent Newspapers' presses and closed it down on 19 April 1974 using the Emergency (Defence) Regulations. Independent Newspapers resumed publication on 30 March 1977 but the three-year closure had taken its toll. Faced financial problems Independent Newspapers and its various publications closed down on 26 December 1990.

## InfoBox

Weekend
| Type | Weekly newspaper |
| --- | --- |
| Owner(s) | Independent Newspapers Limited |
| Founded | 1965 (1965) |
| Language | English |
| City | Colombo |
| Country | Ceylon |
| Sister newspapers |  |
| OCLC number | 9232882 |
|  | |


title: Western violet-backed sunbird

abstract: The western violet-backed sunbird or Longuemare's sunbird is a species of bird in the family Nectariniidae. It is the most widely ranging species in the violet-backed sunbird superspecies, ranging throughout a large part of tropical mainland sub-Saharan Africa not inhabited by other members of the superspecies. It is mainly found in regions with mesic woodland.

text:
# Western violet-backed sunbird

The **western violet-backed sunbird** or **Longuemare's sunbird** (***Anthreptes longuemarei***) is a species of bird in the family Nectariniidae. It is the most widely ranging species in the violet-backed sunbird superspecies, ranging throughout a large part of tropical mainland sub-Saharan Africa not inhabited by other members of the superspecies. It is mainly found in regions with mesic woodland.

## InfoBox

| Western violet-backed sunbird | |
| --- | --- |
|  | |
| Conservation status | |
|
Least Concern  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Aves |
| Order: | Passeriformes |
| Family: | Nectariniidae |
| Genus: | *Anthreptes* |
| Species: | ***A. longuemarei*** |
| Binomial name | |
| ***Anthreptes longuemarei***
(Lesson, 1831) | |
|


title: W.L. Hill Store

abstract: The W.L. Hill Store, built in 1913, is an historic three story department store located on York Street in the town of Sharon, York County, South Carolina. It is by far the largest building in town. Designed in the commercial style, by locally prominent architect Julian Starr, its size and grandeur was meant to mimic larger stores in major cities. On January 20, 1995, it was added to the National Register of Historic Places. It is located in the Hill Complex Historic District.

text:
# W.L. Hill Store

The **W.L. Hill Store**, built in 1913, is an historic three story department store located on York Street in the town of Sharon, York County, South Carolina. It is by far the largest building in town. Designed in the commercial style, by locally prominent architect Julian Starr, its size and grandeur was meant to mimic larger stores in major cities. On January 20, 1995, it was added to the National Register of Historic Places. It is located in the Hill Complex Historic District.

Media related to W.L. Hill Store at Wikimedia Commons

## InfoBox

|  | |
| --- | --- |
| W.L. Hill Store | |
| U.S. National Register of Historic Places | |
| U.S. Historic district<br>Contributing property | |
|  | |
| W.L. Hill Store in downtown Sharon | |
|  | |
| Location | Sharon, South Carolina |
| Coordinates | 34°57′06″N 81°20′17″W / 34.951754°N 81.338004°W / 34.951754; -81.338004 |
| Built | 1913 |
| Architect | Julian Starr |
| Architectural style | Commercial Style |
| NRHP reference No. | 94001572 |
| Added to NRHP | 20 January 1995 |


title: Marjorie Tallchief

abstract: Marjorie Tallchief was an American ballerina and member of the Osage Nation. She was the younger sister of prima ballerina Maria Tallchief and was the first Native American to be named "première danseuse étoile" in the Paris Opera Ballet.

text:
# Marjorie Tallchief

**Marjorie Tallchief** (born **Marjorie Louise Tall Chief**; October 19, 1926  November 30, 2021) was an American ballerina and member of the Osage Nation. She was the younger sister of prima ballerina Maria Tallchief and was the first Native American to be named "première danseuse étoile" in the Paris Opera Ballet.

## Early life

Tallchief was born October 19, 1926, in Denver, Colorado, while her parents, Alexander Tall Chief and his wife, Ruth (née Porter), were on a family vacation with her older siblings, brother Gerald and sister Maria. She grew up in Fairfax, Oklahoma, until 1933, when her family moved to Los Angeles so she and her sister could train in ballet dancing. She trained with Bronislava Nijinska and David Lichine. Her father was a member of the Osage Nation, while her mother was of Scottish-Irish descent.

## Career

After completing her training in Los Angeles, Tallchief began performing for several dance companies. In the book *American Indian Ballerinas,* Lili Cockerille Livingston wrote that Tallchief had her professional debut with Lucia Chase and Richard Pleasant's Ballet Theatre as a first year soloist, in 1944. According to the *Encyclopedia of Oklahoma History and Culture,* these included: "the American *Ballet Russe de Monte Carlo* (1946–47), the *Grand Ballet du Marquis de Cuevas* (1948–55), Ruth Page's Chicago Opera Ballet (guest artist, 1958–62), and the Harkness Ballet (prima ballerina, 1964–66). Her most acclaimed roles were performed in *Night Shadow* (1950), *Annabel Lee* (1951), *Idylle* (1954), *Romeo and Juliet* (1955), and *Giselle* (1957)."

Tallchief was the first American and Native American to be *"première danseuse étoile"* of the Paris Opera Ballet and performed with the *Grand Ballet du Marquis de Cuevas.* During her career she also performed for dignitaries such as U.S. Presidents John F. Kennedy and Lyndon B. Johnson, and French President Charles de Gaulle. Tallchief taught at Dallas Civic Ballet Academy, later known as the Dallas Ballet. After her retirement from the stage, she acted as a dance director for the Dallas Ballet, the Chicago Ballet School, and the Harid Conservatory until 1993. She and her sister Maria also co-founded the Chicago City Ballet in 1980.

## Accolades

In 1991, Tallchief was inducted into the Oklahoma Hall of Fame. In October 1997, she and her elder sister Maria, along with Moscelyne Larkin, Rosella Hightower, and Yvonne Chouteau, were named Oklahoma Treasures at the Governor's Arts Awards. A bronze statue of her along with the other Five Moons were unveiled in 2007 on the grounds of the Tulsa Historical Society.

## Personal life

Tallchief had two children with her husband, the director and choreographer George Skibine, whom she married in 1947. She lived in Boca Raton, Florida, where she died on November 30, 2021, at the age of 95.

## InfoBox

| Marjorie Tallchief | |
| --- | --- |
| Tallchief in 1956 | |
| Born | Marjorie Louise Tall Chief
(1926-10-19)October 19, 1926
Denver, Colorado, U.S. |
| Died | November 30, 2021(2021-11-30) (aged 95)
Boca Raton, Florida, U.S. |
| Occupation | Ballerina |
| Spouse | George Skibine  (m. 1947; died 1981) |
| Children | 2 |
| **Career** | |
| Former groups | Paris Opera Ballet |
|  | |


title: Someday Is Less Than a Second Away

abstract: Someday Is Less Than a Second Away is a studio album by Canadian hip hop artist DL Incognito. It was released April 16, 2013 on URBNET Records.

text:
# Someday Is Less Than a Second Away

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| *Exclaim!* | 8/10 |
| *NOW Toronto* | Favorable |
| *RapReviews* | 8/10 |

***Someday Is Less Than a Second Away*** is a studio album by Canadian hip hop artist DL Incognito. It was released April 16, 2013 on URBNET Records.

## Music

The album is produced by Techtwelve, Dirty Sample, Gigz The Unknown Producer, Tom Wrecks, Illo and DL Incognito himself. Guest appearances include Adam Bomb, D-Sisive, Geneva B and Caliph.

## Track listing

| No. | Title | Producer | Length |
| --- | --- | --- | --- |
| 1. | "Move On (When The Love Is Gone)" | Techtwelve | 3:43 |
| 2. | "Simple Math" (Adam Bomb) | Techtwelve | 4:02 |
| 3. | "Days Gone" (featuring D-Sisive) | Techtwelve | 4:37 |
| 4. | "Super" | Techtwelve | 1:59 |
| 5. | "Icon" | Dirty Sample | 2:37 |
| 6. | "The Chase" | Techtwelve | 2:24 |
| 7. | "Mysterious Ways" (featuring Geneva B) | Techtwelve | 4:12 |
| 8. | "Admiration" | Tom Wrecks | 3:54 |
| 9. | "Grey Hairs" (featuring Caliph) | DL Incognito, Techtwelve | 3:48 |
| 10. | "Here I Am" | Gigz The Unknown Producer | 2:11 |
| 11. | "No Rings" | Techtwelve | 3:06 |
| 12. | "Memories of My Youth" | Techtwelve | 3:11 |
| 13. | "Move On (When The Love Is Gone) 2.0" | Illo | 4:37 |

1. "DL Incognito Someday is Less than a Second Away". Retrieved 2017-02-21.
2. "DL Incognito - Someday Is Less Than A Second Away". *NOW Magazine*. 2013-05-09. Retrieved 2017-02-21.
3. "DL Incognito :: Someday Is Less Than a Second Away :: URBNET Records". *www.rapreviews.com*. Retrieved 2017-02-21.
4. *Someday Is Less Than a Second Away - DL Incognito*, retrieved 2017-02-21
5. "Someday is Less Than a Second Away, by DL Incognito". *urbnet*. Retrieved 2017-02-21.
6. "Someday is Less Than a Second Away - DL Incognito | Songs, Reviews, Credits | AllMusic". *AllMusic*. Retrieved 2017-02-21.

## InfoBox

| Someday is Less Than a Second Away | |
| --- | --- |
|  | |
| Studio album by DL Incognito | |
| Released | April 16, 2013 (2013-04-16) |
| Genre | Hip hop, alternative hip hop |
| Length | 44:21 |
| Label | URBNET Records |
| Producer | Techtwelve, Tom Wrecks, Illo, DL Incognito, Gigz The Unknown Producer |
| DL Incognito chronology | |
| *A Captured Moment in Time*
(2008) ***Someday is Less Than a Second Away***
(2013) | |


title: San Francisco del Rincón

abstract: San Francisco del Rincón is a city and municipality in the western part of the state of Guanajuato, Mexico. The city serves as the municipal seat for the municipality of San Francisco del Rincón. The city lies at the extreme northwest corner of the municipality. The settlement was founded as San Francisco del Tule on January 21, 1607 by a group of families of the Purépecha and Hñähñu (Otomi) ethnicities. It was declared a villa (town) on September 6, 1865 and a city on March 27, 1867. It is located at 21°01′22″N 101°51′36″W, at an approximate altitude of 1,721 meters. The population of the municipality in the 2010 census was 113,570 people, of whom 71,139 lived in the city of San Francisco del Rincón. The municipality has an areal extent of 415.73 km⁲. The city is the sixth-largest community in the state in population. The city is home to Atlético San Francisco football club. The Vicente Fox Center of Studies, Library and Museum lies within the municipality.

text:
# San Francisco del Rincón

**San Francisco del Rincón** is a city and municipality in the western part of the state of Guanajuato, Mexico. The city serves as the municipal seat for the municipality of San Francisco del Rincón. The city lies at the extreme northwest corner of the municipality.

The settlement was founded as San Francisco del Tule on January 21, 1607 by a group of families of the Purépecha and Hñähñu (Otomi) ethnicities. It was declared a villa (town) on September 6, 1865 and a city on March 27, 1867. It is located at 21°01′22″N 101°51′36″W / 21.02278°N 101.86000°W / 21.02278; -101.86000, at an approximate altitude of 1,721 meters.

The population of the municipality in the 2010 census was 113,570 people, of whom 71,139 lived in the city of San Francisco del Rincón. The municipality has an areal extent of 415.73 km2 (160.51 sq mi). The city is the sixth-largest community in the state in population.

The city is home to Atlético San Francisco football club. The Vicente Fox Center of Studies, Library and Museum lies within the municipality.

## InfoBox

| San Francisco del Rincón | |
| --- | --- |
| City and municipality | |
| Saint Francis of Assisi Church | |
|  | |
| Nickname: Capital del Sombrero | |
| San Francisco del RincónLocation of San Francisco del Rincon in Mexico | |
| Coordinates: 21°01′22″N 101°51′36″W / 21.02278°N 101.86000°W / 21.02278; -101.86000 | |
| Area | |
| Municipality | 425.4 km2 (164.2 sq mi) |
| Land | 415.73 km2 (160.51 sq mi) |
| City | 16.47 km2 (6.36 sq mi) |
| Elevation | 1,750 m (5,740 ft) |
| Population (2020 census) | |
| Municipality | 130,871 |
| Density | 310/km2 (800/sq mi) |
| City | 79,772 |
| City density | 4,800/km2 (13,000/sq mi) |
| Demonym | Francorrinconense or Francorrinconés |
| Website | Municipio de San Francisco del Rincón |


title: Motor Manufacturing Company

abstract: Motor Manufacturing Company Limited, incorporated 1902 following companies of the same name formed in 1898 and 1900 was the third and final revival of H. J. Lawson's The Great Horseless Carriage Company. In 1904 Lawson and business partner E. T. Hooley were indicted for "an ingenious system of fraud carried out over a long period". Lawson, who defended himself, was found guilty and sentenced to a year's hard labour. MMC went out of business.

text:
# Motor Manufacturing Company

**Motor Manufacturing Company Limited**, incorporated 1902 following companies of the same name formed in 1898 and 1900 was the third and final revival of H. J. Lawson's The Great Horseless Carriage Company.

In 1904 Lawson and business partner E. T. Hooley were indicted for "an ingenious system of fraud carried out over a long period". Lawson, who defended himself, was found guilty and sentenced to a year's hard labour. MMC went out of business.

## Production

## Prizes

In The 1000-Mile Trial of Motor-Cars, their *Iveagh* phaeton completed the entire trial. In class D—the most expensive for which a prize was given—first prize went to Daimler and second to MMC. The gold medal for the most meritorious competitor was given to the Panhard of Hon C S Rolls.

## Liquidation

The following report appeared on page 30 of *The Automotor Journal* of 7 January 1905:

*"Motor Manufacturing Company Limited In Liquidation*

*Under the compulsory winding up order made last October against this company Mr H M Winearls (Assistant Receiver) has now issued his report to the creditors and shareholders. The statement of affairs shows total liabilities £41,125 and assets valued at sufficient to yield a surplus of £20,775 after payment of the debt. The account with the contributories discloses a deficiency of £42,453.*

*Mr Winearls reports that the company was formed in June 1902 to acquire and carry on the business which had been successively been carried on by the Great Horseless Carriage Company Limited registered in May 1896, Motor Manufacturing Company Limited registered January 1898 and a company of the same name registered March 1900.*

*The capital of £80,000 was divided into 320,000 shares of 5s each. The consideration for the sale was the undertaking by the new company to satisfy the liablilities of the old company amounting to £38,000 and to pay the costs of liquidation of the old company and of forming the new company and to issue to the liquidator of the old company or his nominee 252, 966 shares of 5s each with 3s credited as paid. Only 136,562 of those shares were applied for but the remaining 116,404 were taken up in consideration of a payment of £2,500 by the liquidator of the old company.*

*During the first year the business was successful and several prizes were obtained by the company's cars. A dividend of 5 per cent was paid out of the first year's profits but during the following year the company was in need of working capital and issued debentures with the result that in June last Mr Frank E Beadle was appointed receiver and manager on behalf of the debenture holders. The failure of the company is attributed to want of working capital and pressure of creditors."*

## Disposal

Shortly afterwards The Daimler Company reported that they had acquired at Coventry MMC's adjoining lease together with its plant and machinery.


title: The Economics of Happiness

abstract: The Economics of Happiness is a 2011 documentary film directed by Helena Norberg-Hodge, Steven Gorelick, and John Page, and produced by Local Futures.

text:
# The Economics of Happiness

***The Economics of Happiness*** is a 2011 documentary film directed by Helena Norberg-Hodge, Steven Gorelick, and John Page, and produced by Local Futures (formerly the International Society for Ecology and Culture).

## Synopsis

The film features many voices from six continents calling for systemic economic change. The documentary describes a world moving simultaneously in two opposing directions. While government and big business continue to promote globalization and the consolidation of corporate power, people around the world are resisting those policies and working to forge a very different future. Communities are coming together to re-build more human scale, ecological economies based on a new paradigm: an economics of localization.

## Recognition

*The Economics of Happiness* has won "Best in Show" at the Cinema Verde Film and Arts Festival, "Best Direction" from EKOFilm 2011 (Czech Republic), "Judges' Choice" and "Audience Choice" at the Auroville International Film Festival (India), an "Award of Merit" from the Accolade Film Festival, and several other awards.

In 2012, the film was listed among the top ten films as chosen by Transition town initiatives.

In 2015, it was awarded 1st place out of 100 "documentaries we can use to change the world" by Films for Action, an activism-oriented film screening and compilation site.

## InfoBox

| The Economics of Happiness | |
| --- | --- |
| Official film poster | |
| Directed by | Steven Gorelick
Helena Norberg-Hodge
John Page |
| Produced by | Helena Norberg-Hodge |
| Narrated by | John Page |
| Edited by | Anna Fricke
Army Armstrong
Meredith Holch |
| Music by | Florian Fricke |
| Release date | * 11 January 2011 (2011-01-11) |
| Running time | 68 minutes |
| Country | Australia |
| Language | English |


title: The Economics Anti-Textbook

abstract: The Economics Anti-Textbook is both an introduction to, and critique of the typical approaches to economics teaching, written by Roderick Hill and Tony Myatt in 2010. The main thrust of the authors' argument is that basic economics courses, being centered on models of perfect competition, are biased towards the support of free market or laissez-faire ideologies, and neglect to mention conflicting evidence or give sufficient coverage of alternative descriptive models. This book has been updated and superseded by The Microeconomics Anti-Textbook and The Macroeconomics Anti-Textbook, by the same authors.

text:
# The Economics Anti-Textbook

***The Economics Anti-Textbook*** is both an introduction to, and critique of the typical approaches to economics teaching, written by Roderick Hill and Tony Myatt in 2010. The main thrust of the authors' argument is that basic economics courses, being centered on models of perfect competition, are biased towards the support of free market or laissez-faire ideologies, and neglect to mention conflicting evidence or give sufficient coverage of alternative descriptive models. This book has been updated and superseded by The Microeconomics Anti-Textbook and The Macroeconomics Anti-Textbook, by the same authors.

## Goals

The book seeks to both teach economic material and also to counter what is written in other economics texts. The book encourages its readers to become skeptics, urging critical thinking against the hegemony of rigid free market ideology.

The book advocates for empiricism in economics and demonstrates the abundance of un-empirical free-market ideology in undergraduate economics classes. Many authors have since repeated similar concerns about economics education.

## Structure

Each chapter begins with a dense but readable summary of common neoclassical economic textbook teaching on a topic, and then proceeds to discuss the limitations of these teachings and their public policy implications.

Throughout the text are suggested "Questions for Your Professor" designed "to reveal the ignorance of neoclassical economics professors of their own discipline, their lack of understanding of alternative theories and their wilful neglect of conflicting evidence."

## Content

The book primarily discusses major topics of microeconomics, including consumer behavior, firm behavior, market structure, externalities, income distribution, government, and international trade. An appendix discusses the 2008 financial crisis in light of the earlier discussions of markets.

### Example

An example of the book's approach is the theories surrounding minimum wage. Classical micro-economic theory dictates that in a perfectly competitive market, raising the legal minimum wage will increase unemployment, as it prevents the hire of workers whose market value falls below the legal minimum. Society therefore loses from the imposition of a minimum wage due to the loss of allocative efficiency. While real markets may not be perfectly competitive, the model of perfect competition provides a good approximation to real market behaviour. A number of counterarguments to this are given.

1. The classical model, while neat, is only a hypothesis which should be experimentally verified before being accepted as fact.
2. Over 30 years of econometric studies have failed to conclusively prove or disprove the hypothesis that raising minimum wage will increase unemployment. The theory is surrounded by a \`protective belt of assumptions' which makes conducting such studies near impossible.
3. The existence of market friction, asymmetric information and search costs all violate the assumptions of perfect competition. The authors argue that monopolistic price theories may depict reality better than the perfectly competitive model. In this case it can be shown that raising a minimum wage can in some circumstances, lead to a decrease in unemployment.
4. The existence of multiple equilibria in a supply/demand system may mean that imposition of a minimum wage forces the system over a tipping point from a less efficient to a more efficient equilibrium.
5. Arguments in favour of increasing allocative efficiency were in any case constructed in an era where society was less wealthy than it is today. Recent studies have shown that for well-off societies, the happiness of a population has little correlation with its absolute wealth. Therefore, efficiency may not necessarily be an important goal of resource allocation in any case. In any case, efficient markets can have morally undesirable outcomes.

### Other areas

Later chapters explore the concept of bounded rationality and how it confounds classical arguments in favour of laissez faire; in particular it is noted that the very existence of an advertising industry disproves rational behaviour. Arguments from the field of game theory explain limited rationality and the balance of power of corporations over the individual.

### Conclusion

Overall, the authors argue – with reference to Thomas Kuhn's *The Structure of Scientific Revolutions* – that the existing economic paradigm is due for a change. The book presents their own paradigm for interpreting economic behaviour.

## Context

The book is one of several textbooks comparing mainstream and heterodox perspectives on economics, along with Cohn (2007) and Bougrine & Seccareccia (2010). Other similar textbooks offering alternative perspectives to mainstream economics include Earl (1995) and Earl & Wakeley (2005). None of these have yet achieved widespread adoption. A thorough review of critical economics books relevant to 21st century economies recommended this book as a textbook in real-world economics which supports a broad view of economic perspectives, along with Nelson & Harris (2009), Goodwin et al. (2009), and Gowdy (2009) It is one of the most popular works critiquing neoclassical economics, along with and Keen (2001).

The book was part of a movement of economists attempting to offer explanations of economic theory to the general public in the wake of the Great Recession.

## Reviews

Despite not yet being reviewed in mainstream journals, as of February 2011 the introductory chapter has received 13,000 views on stumbleupon and the book has attracted positive comment on various blogs.

The Huffington Post especially recommended the last chapter on trade and globalization. In the journal *Labour / Le Travail*, Jim Stanford described it as a "needed antidote to the unreal and infuriating doctrines of fundamentalist free-market theory" taught in standard introductory economics courses and textbooks. On the blog *Progressive Economics*, Professor of Green Political Economy at Queen's University, Belfast, John Barry said, "it should be on all undergraduate economics courses in the spirit of pluralism in economic thinking." In the *International Journal for Pluralism and Economics Education*, Swiss economic sociologist Michael Derrer called it a "a genuine treasure of well-researched and referenced arguments". He suggested to the authors to write a second edition in a less scholarly writing style, in order to reach a global audience.

## Citations

## Further reading

## InfoBox

The Economics Anti-Textbook
|  | |
| --- | --- |
| Author | Roderick Hill and Tony Myatt |
| Language | English |
| Subject | Economics |
| Publisher | Zed Books |
| Publication date | 2010 |
| ISBN | 1-84277-939-7 |