Don Juan

Don Juan known as Don Giovanni, is a legendary, fictional libertine. Famous versions of the story include a 17th-century play, El burlador de Sevilla y convidado de piedra by Tirso de Molina, an 18th-century opera, Don Giovanni, with music by Mozart and a libretto by Lorenzo da Ponte. By linguistic extension from the name of the character, "Don Juan" has become a generic expression for a womanizer, stemming from this, Don Juanism is a non-clinical psychiatric descriptor. In Spanish, Don Juan is pronounced; the usual English pronunciation is, with two syllables and a silent "J". However, in Lord Byron's verse version the name rhymes with ruin and true one, suggesting the name was pronounced with three syllables, in England at the time; this would have been characteristic of English literary precedent, where English pronunciations were imposed on Spanish names, such as Don Quixote. There have been many versions of the Don Juan story, but the basic outline remains the same: Don Juan is a wealthy libertine who devotes his life to seducing women.

He takes great pride in his ability to seduce women of all ages and stations in life, he disguises himself and assumes other identities in order to seduce women. The aphorism that Don Juan lives by is: "Tan largo me lo fiáis"; this is his way of indicating that he is young and that death is still distant - he thinks he has plenty of time to repent for his sins. His life is punctuated with violence and gambling, in most versions he kills a man: Don Gonzalo, the father of Doña Ana, a girl he has seduced; this murder leads to the famous "last supper" scene, where Don Juan invites a statue of Don Gonzalo to dinner. There are different versions of the outcome: in some versions Don Juan dies, having been denied salvation by God; the first written version of the Don Juan story was a play, El burlador de Sevilla y convidado de piedra, published in Spain around 1630 by Tirso de Molina. In Tirso de Molina's version Don Juan is portrayed as an evil man who seduces women thanks to his ability to manipulate language and disguise his appearance.

This is a demonic attribute, since the devil is known for shape-shifting or taking other peoples' forms. In fact Tirso's play has a clear moralizing intention. Tirso felt that young people were throwing their lives away, because they believed that as long as they made an Act of Contrition before they died, they would automatically receive God's forgiveness for all the wrongs they had done, enter into heaven. Tirso's play argues in contrast that there is a penalty for sin, there are unforgivable sins; the devil himself, identified with Don Juan as a shape-shifter and a "man without a name", cannot escape eternal punishment for his unforgivable sins. As in a medieval Danse Macabre, death makes us all equal in. Tirso de Molina's theological perspective is quite apparent through the dreadful ending of his play. Another aspect of Tirso's play is the cultural importance of honor in Spain of the golden age; this was focused on women's sexual behavior, in that if a woman did not remain chaste until marriage, her whole family’s honor would be devalued.

The original play was written in the Spanish Golden Age according to its ideals. But as time passed, the story was translated into other languages, it was adapted to accommodate cultural changes. Other well-known versions of Don Juan are Molière's play Dom Juan ou le Festin de pierre, Goldoni's play Don Giovanni Tenorio, José de Espronceda's poem El estudiante de Salamanca, José Zorrilla's play Don Juan Tenorio. Don Juan Tenorio is still performed throughout the Spanish-speaking world on 2 November. Mozart's opera Don Giovanni is arguably the best-known version. First performed in Prague in 1787, it inspired works by E. T. A. Hoffmann, Alexander Pushkin, Søren Kierkegaard, George Bernard Shaw and Albert Camus; the critic Charles Rosen analyzes the appeal of Mozart's opera in terms of "the seductive physical power" of a music linked with libertinism, political fervor, incipient Romanticism. The first English version of Don Juan was The Libertine by Thomas Shadwell. A revival of this play in 1692 included dramatic scenes with music by Henry Purcell.

Another well-known English version is Lord Byron's epic poem Don Juan. Don Juans Ende, a play derived from an unfinished 1844 retelling of the tale by poet Nikolaus Lenau, inspired Richard Strauss's orchestral tone poem Don Juan; this piece premiered on 11 November 1889, in Weimar, where Strauss served as Court Kapellmeister and conducted the orchestra of the Weimar Opera. In Lenau's version of the story, Don Juan's promiscuity springs from his determination to find the ideal woman. Despairing of finding her, he surrenders to melancholy and wills his own death. In the film Adventures of Don Juan starring Errol Flynn, Don Juan is a swashbuckling lover of women who fights against the forces of evil. Don Juan in Tallinn is an Estonian film version based on a play by Samuil Aljošin. In this version, Don Juan is a woman dressed in men's clothes, she is accompanied by her servant Florestino on her adventure in the capital of Estonia. In Don Juan, or If Don Juan Were a Woman, a French-Italian co-production, Brigitte Bardot plays a female version of the character.

Don Juan DeMarco, starring Johnn

1965–66 Cincinnati Royals season

The 1965–66 season was the Royals' 21st season overall, their ninth in Cincinnati. It was arguably their most exciting, given their outstanding pennant chase in the NBA's Eastern Division, their hosting of the 1966 NBA All-Star Game in Cincinnati; the team was still adjusting to the loss of defender Bucky Bockhorn. With the NBA's most wide-open offense, the Royals were again directed by now-legendary Oscar Robertson, who fed shooters Jerry Lucas, Jack Twyman and Adrian Smith when not scoring himself. Forwards Happy Hairston and Tom Hawkins saw court time, with Lucas sliding into the center spot. Defender Tom Thacker occasionally got minutes at guard next to Robertson; the team's outstanding 1965 draft class, one of the NBA's best netted four promising young stars in Nate Bowman, Flynn Robinson, Jon McGlocklin and Bob Love. But Bowman and Robinson did not impact the team. Love, a future NBA all-star and Hall of Fame inductee, was cut by coach Jack McMahon. All-NBA First Teammers Robertson and Lucas each again posted remarkable individual seasons leading the contenders.

Robertson again led the NBA in assists while scoring near the 30-point-per game mark and canning his usual pile of free throws at opponents expense. While Robertson averaged'30-10', Lucas averaged' 20-20' setting an NBA record for rebounds by a forward that still stands today. Both averaged 44 minutes per game to lead their team. Despite their contributions, the Royals would finish in third place with a record of 45 wins and 35 losses. In the playoffs, the Royals were again on the verge of ending the Boston Celtics championship reign; the Royals won 2 of the first 3 games in a 5-game series. Despite the commanding lead, the Celtics would win the next 2 games and claim their 8th straight title. Boston Celtics vs. Cincinnati Royals: Celtics win series 3-2 Game 1 @ Boston: Cincinnati 107, Boston 103 Game 2 @ Cincinnati: Boston 132, Cincinnati 125 Game 3 @ Boston: Cincinnati 113, Boston 107 Game 4 @ Cincinnati: Boston 120, Cincinnati 103 Game 5 @ Boston: Boston 112, Cincinnati 103 Oscar Robertson – First Team All-NBA, Jerry Lucas – First Team All-NBA, Adrian Smith, MVP of the 1966 NBA All-Star Game, held in Cincinnati.

Royals on Basketball Reference

Ruthie Tompson

Ruthie Tompson is an American animator and artist. She is best known for her work on animated features at The Walt Disney Company. Ruthie Tompson was born on July 22, 1910 in Portland and raised in Boston, Massachusetts, she moved with her family to Oakland, California in November 1918 at age eight. In 1924, her parents divorced and her mother, remarried artist John Roberts; the family relocated to Los Angeles and their house was in the same block as the house of Robert Disney, uncle of Walt Disney. This is where Walt Disney lived when they first came to Los Angeles; as she stated in an interview, Tompson first met the Disneys when she visited her neighbor Robert's new baby. The location of The Walt Disney Company known as the Disney Brothers Cartoon Studio, was not far from her home – she passed it on her way to grammar school, she was invited into the office after many times of standing outside and watching them work through the window. She visited the office and ended up appearing in the Alice Comedies.

At the age of 18, Tompson started working at Dubrock's Riding Academy, where Roy and Walt Disney played polo. Walt Disney offered her a job as an Inker. After training as an Inker, Tompson was transferred to the Paint Department, where she helped with Disney's Snow White and the Seven Dwarfs. After working on several other Disney films, Tompson was promoted to Final Checker position where she reviewed animation cels before they were photographed onto film. Tompson continued working for Disney and was promoted to Animation Checker during WWII, where she worked on training and education films, for the U. S Armed Forces, starring Disney characters like Mickey and Goofy. By 1948, Tompson was working in the Camera Department, developing camera moves and mechanics to shoot animation, she became one of the first three women admitted into the International Photographers Union, Local 659 of the IATSE. Tompson continued to work through the studio ranks becoming the supervisor of the Screen Planning Department.

Tompson retired in 1975 after working for The Walt Disney Company for 40 years. In retirement, she works for an in-house television channel at the Motion Picture & Television Fund Country House where she lives. Tompson is the oldest member of Women in Animation. In 2000, Tompson was honored by the Disney Legends program and received the Disney Legends Award for her work at the Walt Disney Studios. In 2017, Tompson was honored by the Academy of Motion Picture Arts & Sciences for her contributions to the animation industry