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Edition (book)
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"First Edition" redirects here. For other uses, see First Edition (disambiguation).
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The bibliographical definition of an edition includes all copies of a book printed “from substantially the same setting of type,” including all minor typographical variants.
The numbering of book editions is a special case of the wider field of revision control. The traditional conventions for numbering book editions evolved spontaneously for several centuries before any greater applied science of revision control became important to humanity, which did not occur until the era of widespread computing had arrived (when software and electronic publishing came into existence). The old and new aspects of book edition numbering (from before and since the advent of computing) are discussed below.
Contents
1 First edition
1.1 Bibliographical definition
1.2 Collectors' definition
1.3 Publishers' definitions
2 Other types of editions
2.1 Revised edition
2.2 Revised and updated edition
2.3 Co-edition
2.4 e-dition
2.5 Library edition
2.6 Book club edition
2.7 Cheap edition
2.8 Colonial edition
2.9 Cadet edition
2.10 Large print edition
2.11 Critical edition
3 Printing, print run, impression, et cetera
4 Republication
5 Legal status
5.1 UK
6 See also
7 Notes
8 References
8.1 Citations
8.2 Sources
9 Bibliography
10 External links
First edition[edit]
"First edition" redirects here. For other uses, see First edition (disambiguation).
Title-page illustration by Hammatt Billings for Uncle Tom's Cabin, First Edition: Boston: John P. Jewett and Company, 1852
According to the definition of edition above, a book printed today, by the same publisher, and from the same type as when it was first published, is still the first edition of that book to a bibliographer. However, book collectors generally use the term first edition to mean specifically the first print run of the first edition (aka "first edition, first impression"). Since World War II, books often include a number line (printer's key) that indicates the print run.
A "first edition" per se is not a valuable collectible book. A popular work may be published and reprinted over time by many publishers, and in a variety of formats. There will be a first edition of each, which the publisher may cite on the copyright page, such as: "First mass market paperback edition". The first edition of a facsimile reprint is the reprint publisher's first edition, but not the first edition of the work itself.
The Independent Online Booksellers Association has a A First Edition Primer which discusses several aspects of identifying first editions including publishing and specific publishers way of designating first editions.
Bibliographical definition[edit]
The classic explanation of edition was given by Fredson Bowers in Principles of Bibliographical Description (1949). Bowers wrote that an edition is “the whole number of copies printed at any time or times from substantially the same setting of type-pages,” including “all issues and variant states existing within its basic type-setting, as well as all impressions.”
Publishers often use the same typesetting for the hardcover and trade paperback versions of a book. These books have different covers, the title page and copyright page may differ, and the page margin sizes may differ (same type area, smaller trim), but to a bibliographer they are the same edition.
From time to time, readers may observe an error in the text (or, in the days of metal type, a piece of broken type), and report these to the publisher. The publisher typically keeps these "reprint corrections" in a file pending demand for a new print run of the edition, and before the new run is printed, they will be entered.
The method of entry, obviously, depends on the method of typesetting. For letterpress metal, it typically meant resetting a few characters or a line or two. For linotype, it meant casting a new line for any line with a change in it. With film, it involved cutting out a bit of the film and inserting a new bit. In an electronic file, it means entering the changes digitally.
Such minor changes do not constitute a new edition, but introduce typographical variations within an edition, which are of interest to collectors.
Collectors' definition[edit]
First editions of Laurence Sterne's Tristram Shandy
A common complaint of book collectors is that the bibliographer's definition is used in a book-collecting context. For example, J. D. Salinger's The Catcher in the Rye as of 2016[update] remains in print in hardcover. The type is the same as the 1951 first printing, therefore all hardcover copies are, for the bibliographer, the first edition. Collectors would use the term for the first printing only.
First edition most often refers to the first commercial publication of a work between its own covers, even if it was first printed in a periodical: the complete text of Ernest Hemingway’s The Old Man and the Sea appeared in the September 1, 1952 issue of Life, yet the generally accepted “first” edition is the hardcover book Scribner’s published on September 8, 1952.
The term "first trade edition," refers to the earliest edition of a book offered for sale to the general public in book stores. For example, Upton Sinclair's 1906 novel The Jungle was published in two variant forms. A "Sustainers' Edition", published by the Jungle Publishing Company, was sent to subscribers who had advanced funds to Sinclair. The first trade edition was published by Doubleday, Page to be sold in bookstores.
Many book collectors place maximum value on the earliest bound copies of a book—promotional advance copies, bound galleys, uncorrected proofs, and advance reading copies sent by publishers to book reviewers and booksellers. It is true that these are rarer than the production copies; but given that these were not printed from a different setting of type (just the opposite; the main purpose of galleys and proofs is to double-check the typeset matter that will be used for production), they are not different editions.
Publishers' definitions[edit]
Publishers use "first edition" according to their own purposes, and consequently among them the designation is used very inconsistently. The "first edition" of a trade book may be the first iteration of the work printed by the publisher in question or the first iteration of the work that includes a specific set of illustrations or editorial commentary.
Publishers of non-fiction, academic works, and textbooks generally distinguish between revisions of the text of the work, by typically citing the dates of the first and latest editions of the work in the copyright page. Exceptions to this rule of thumb include denominating as a "second edition" a new textbook that has a different format, title, and/or author(s) because a previous textbook that shares only the same subject matter as the "second edition" is considered the first edition. The reason for this stretch of the definition is often for the short-term marketing advantage of the new textbook, because, although first editions are often considered more valuable than later editions to book collectors, being a subsequent edition of a previous textbook gives the impression that the textbook denominated as a subsequent edition is more authoritative.
Other types of editions[edit]
Revised edition[edit]
Publishers sometimes denominate a new iteration of a work a "revised edition" or the "(N)th edition, revised" when the previous iteration has been editorially revised or updated yet the author or publisher does not want to denominate it the "(N+1)th edition" ("N" being the number of the previous edition) for some subjective reason. Conversely, a new iteration of a work that is not substantially different may be denominated a "new edition" or the "(N+1)th edition".
The qualitative difference between a "revised edition" and a "new edition" is subjective. This is analogous to the way that software publishers may denominate an iteration "version 3.7" and the subsequent updated iteration "version 4" instead of "version 3.8". The subjective judgment of the degree of the significance of the change made with the new iteration or the perceived marketing advantage of designating the new iteration as a specific number determines how the new iteration is numbered.
Therefore, the designation "revised edition" does not designate any quality or quantity of revision with certainty.
Revised and updated edition[edit]
When a non-fiction book is first published it sometimes instigates more research on its subject. The author may determine that new information justifies the revision of the book. A new iteration of the book would be published as a new edition, which may be denominated a "revised and updated edition". However, as with the denomination of "revised edition", the use of "revised and updated edition" manifests only the subjective choice of the publisher, which may be different from the publisher of a previous "revised edition" of the same work.
Co-edition[edit]
The basic definition of a co-edition is when two publishing houses publish the same edition of a book (or equivalent versions of an edition, for example, translated versions), simultaneously or near-simultaneously, usually in different countries. English and American editions may differ in spelling, and they sometimes have different titles. Some examples:
An English-language edition, from the same plates, films, or files, may be published in different anglophone countries by different publishing companies. For example, Arms & Armour Press in the UK and Stackpole Books in the U.S. published co-editions of various monographs on military matters.[1]
A French-language novel published in France this year by a French publisher could become an English-language translation published in the U.S. next year by a U.S. publisher.
The logic of co-editions has often been to use the existing distribution systems of the different publishers in each country rather than establishing new distribution systems.
Advancing IT and the globalization of publishing have been blurring the lines of what co-edition means. For example, anything published online is effectively published worldwide. Also, large multinational publishers now have existing distribution systems for their hardcopy books in many countries, so they don't need to partner with other companies. They may issue a book under a different imprint for each country, but the imprints are parts of the same parent corporation. The actual manufacturing of the books may be done in China regardless of where the copies will be sold.
e-dition[edit]
The term e-dition, a play on the e-for-electronic prefix, has been used by various publishers to refer to various ideas, which include:
The hardcopy book's content posted online, fully searchable
Supplemental online-only content for buyers of the hardcopy book
Online-only publishing (no hardcopy distribution)
Proprietary-format digital publication (e-books) for use in specialized hardware for reading the book (e-book readers)
Library edition[edit]
A library edition may appear to be the same as copies appearing in shops and almost certainly uses the same setting. However, the binding and hinges are made extra strong to allow for the greater wear and tear in library books. This is analogous to the "police and taxi" packages for automobiles, in which heavier brakes and other upgrades are made to withstand harsher-than-standard use and longer duty cycles.
Book club edition[edit]
A popular book is sometimes re-issued under the imprint of a book club. Often it is a new setting and with cheaper paper and binding. Any photographic illustrations in the original are either absent or reduced in number. Book club editions are sold to members at a good discount compared with the original issue price.
Cheap edition[edit]
After a book has exhausted the market at the high original price a publisher may issue a cheap edition themselves or sell the rights on to another publisher who will produce the book. A cheap edition typically uses a low-cost paper and is a paperback but they can be hardback. Also typically the size of the font is reduced to fit more words on a page to reduce the overall cost of the book. Naturally, for a cheap edition the author will receive a lower royalty but that may be compensated for by a greater volume of sales.
Colonial edition[edit]
During the peak of the British Empire, cheap editions of novels published in Britain would often be produced for sale in the colonies before other editions of the books were sold. The rationale was that books took a long time to export to the colonies, that readership in those settlements was avid, and that books were an effective means to disseminate British values. Australia was by far the largest consumer of colonial editions. Macmillan (London) published the largest number of colonial edition titles. They began in 1843 and persisted (in terms of pricing and trade) until the 1970s.[2]
Cadet edition[edit]
A cadet edition is a cut down version of a book which is more simply written. It is intended for young readers rather than adults.
Large print edition[edit]
These editions are typically library editions but the font size of the text is much larger than usual so that persons with poor eyesight (often older persons) can more easily read the book. The large print books tend to be of a uniform size.
Critical edition[edit]
A critical edition is a scholarly publication, containing commentary, critique, and sometimes a full developmental history of the work from all available sources.
Printing, print run, impression, et cetera[edit]
A batch of identical copies of an iteration/edition of a work that is printed in the same, single execution of the production set-up is denominated a "print run", "printing run", "printing", "impression", or "press run" according to the subjective choice of the publisher. All these denominations denote the action of applying pressure to paper in order to produce the book, and therefore are interchangeable. One edition of a work may have any number of printings, e. g. first edition, first impression; first edition, second impression; and second edition, first impression. Books that sell poorly may have only one. Very successful books may have 50 or more. If present, the printer's key in the copyright page of a book can be used to identify the number of the printing in which it was produced. In printmaking, however, an "impression" only denotes an individual copy of a specific printing of the work.
A publisher hopes to recoup a large amount of the initial costs of publishing a book from the sale of the copies/impressions produced in the first printing of the book. A variety of commercial and logistic factors are thus considered in deciding the number of books to be produced in a specific printing and their individual price.
Demand for additional printings after the first is always hoped for, because they increase a book's profitability. Once the fixed costs of developing, editing, typesetting, etc. have been covered by the revenue of the first sales, any additional revenue tends to add to the profit margin, minus, of course, the costs of the additional materials, printing, binding, and distribution.
Sometimes a printing will be unsatisfactory for various reasons, especially printings of artistic and photography books in which the quality of reproduction is paramount. A defective printing is usually destroyed by being pulped, yet occasionally a defective printing is shipped to a distant overseas market and there sold cheaply, contingent on the costs of shipping.
If sales of a book do not meet expectations, the remaining stock of a printing will be remaindered. When all copies/impressions of a printing are sold, the book is either reprinted or becomes out of print. Some print on demand and e-book publishers keep all their books perpetually "in print".
A "second" is an imperfect or damaged copy/impression which is set aside from the other copies/impressions of a printing. These will usually have their dust jacket clipped or marked in some way to designate their inferiority.
Sometimes readers may observe an error in the text of a book and report it to the publisher. The publisher usually records these reprint corrections in a file pending demand for a new printing, before which they are incorporated into the revised text. This is one of the factors that inserts the "substantially" into the definition of "substantially the same setting of type".
Republication[edit]
Many commercially successful books have been republished, either by their original or other imprints. For this reason if a popular book is searched for in a large bookseller such as Amazon.com or a large library catalog such as WorldCat, often an array of different copyright years, publishers, editions, formats (hardcover, softcover, trade, and mass market), and so forth are observed. Because no universal authority or convention determines the exact distinction between a "reprinting" and "republishing" and whether a republishing is a different "edition", the denotation of such denominations is ambiguous, at least at first glance.
Legal status[edit]
UK[edit]
Since 1956, typographical arrangements of published editions are protected by copyright law. Copyright, Designs and Patents Act 1988 defines a published edition to mean a published edition of the whole or any part of one or more literary, dramatic or musical works.[a]
It thus protects the publisher's investment in typesetting, as well as the processes of design and selection that are reflected in the appearance of the text.[b] It also covers modern editions of public domain works (such as the complete works of Shakespeare), and prohibits the reproduction of the layout (but not the work itself).
See also[edit]
Editio princeps - essentially, the first printed edition of classical or medieval works
Publication
Publication right
Remaindered book
Notes[edit]
Jump up ^ Duration Directive of the EU permits member states to create a publishers' right in critical and scientific works which have fallen into the public domain.
Jump up ^ See Newspaper Licensing Agency v. Marks & Spencer [2000].
References[edit]
Citations[edit]
Jump up ^ Leventhal 2006.
Jump up ^ Graeme Johanson, A study of colonial editions in Australia, 1843-1972. Elibank Press, Wellington, New Zealand. ISBN 0958349630.
Sources[edit]
Works cited
Leventhal, Lionel (2006), On Publishing: A Professional Memoir, London, England: Greenhill Books, ISBN 978-1-85367-517-1
Bibliography[edit]
Bowers, Fredson. Principles of Bibliographical Description, Winchester and New Castle, Delaware: St Paul's Bibliographies and Oak Knoll Press, 2005 (reprint edition, first published in 1949).
External links[edit]
Wikimedia Commons has media related to Book covers of first editions.
Bookpoi.com official homepage — a comprehensive online guide to identifying first editions, rare and collectible books.
Edition state terminology
First Edition Points Online Reference Guide is a free searchable database of points of issue for hundreds of modern first edition books. Includes images of cover, copyright page, dust jacket flaps, etc.
How to Identify a First Edition
Pulitzer Prize First Edition Guide is a free searchable database of first edition Pulitzer Prize for Fiction books. Includes images and points of issue.
Identifying First Editions, A Primer (from the International On-Line Booksellers Association) Includes discussion on general identification, book club, the reprint publishers, etc., and specific publishers.
Glossary, International League of Antiquarian Booksellers — see "Edition", "First Edition", "Impression", "Printing" etc.
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Mayim Bialik
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Mayim Bialik
Bialik in 2013
Born
Mayim Chaya Bialik
(1975-12-12) December 12, 1975 (age 42)
San Diego, California, U.S.
Alma mater
University of California, Los Angeles (BS, PhD)
Occupation
Actress, neuroscientist, author
Years active
1987–present
Television
Blossom
The Big Bang Theory
Spouse(s)
Michael Stone (m. 2003; div. 2012)
Children
2
Scientific career
Fields
Neuroscience
Thesis
Hypothalamic regulation in relation to maladaptive, obsessive-compulsive, affiliative, and satiety behaviors in Prader-Willi syndrome (2007)
Doctoral advisor
James T. McCracken
Website
mayimbialik.net
groknation.com
Mayim Chaya Bialik (/ˈmaɪəm biˈɑːlɪk/ MY-əm bee-AH-lik; born December 12, 1975) is an American actress, author and neuroscientist. From 1991 to 1995, she played the title character of the NBC sitcom Blossom. Since 2010, she has played Amy Farrah Fowler-Cooper – like the actress, a neuroscientist – on the CBS sitcom The Big Bang Theory, a role for which she has been nominated four times for the Primetime Emmy Award for Outstanding Supporting Actress in a Comedy Series,[1] and won a Critic's Choice Television Award for Best Supporting Actress in a Comedy Series.
Contents
[hide]
1 Early life
2 Acting career
3 Other works and writings
3.1 Grok Nation
3.2 Books
3.3 The New York Times Op-Ed
4 Personal life
5 Filmography
5.1 Film
5.2 Television
5.3 Web
5.4 Video games
6 Written works
7 Awards and nominations
8 References
9 External links
Early life[edit]
Mayim Chaya Bialik[2] was born on December 12, 1975, in San Diego, California,[3][4] to Barry and Beverly (née Winkleman) Bialik.[5][6][7] Her family were Jewish immigrants, and three of her four grandparents migrated from Poland, Czechoslovakia, and Hungary.[8][9][10][11] Bialik was raised as a Reform Jew,[8][12] but now considers herself to be Orthodox Jewish.[13][14] Her personal name, Mayim, originates in a mispronunciation of Miriam, her great-grandmother's name.[15] It also means "water" in Hebrew.[16] Hayim Nahman Bialik is her great-great-grandfather’s uncle.[17]
Bialik attended Walter Reed Junior High School (now Walter Reed Middle School) and graduated in 1993 from North Hollywood High School in North Hollywood, California.[18] While completing filming on Blossom she received acceptance offers from UCLA, Yale, and Harvard. In acknowledgment of her acting commitments, she was granted a deferred acceptance and attended UCLA.[19][20] She stated that she wanted to stay close to her parents and did not want to move to the East Coast.
Bialik earned a B.S. degree in neuroscience, with minors in Hebrew and Jewish studies,[21][22] and went on to study for a doctorate in neuroscience. She took a break from studies in 2005 to return to acting.[23] Bialik returned to earn her Ph.D. in neuroscience from UCLA, in 2007.[24] Her dissertation was an investigation of hypothalamic activity in patients with Prader–Willi syndrome, entitled "Hypothalamic regulation in relation to maladaptive, obsessive-compulsive, affiliative and satiety behaviors in Prader–Willi syndrome."[2][25][26]
Acting career[edit]
Bialik at the rehearsal for the 1989 Academy Awards
Bialik started her career as a child actress in the late 1980s. Her early roles included the horror film Pumpkinhead (1988), her first acting job,[27] and guest appearances on The Facts of Life and Beauty and the Beast. In 1988-1989, she had a recurring role on the TV comedy Webster playing Frieda, Webster's classmate, in 8 episodes. It was for her Beauty and the Beast work, in which she played a sewer-dwelling girl named Ellie who had about 10 lines of dialogue, that Bialik obtained her Screen Actors Guild (SAG) card.[28] She appeared in three episodes of MacGyver as Lisa Woodman. She appeared in Beaches (1988), playing Bette Midler's character as a young girl. She also appeared in the video for the song "Liberian Girl" by Michael Jackson. In 1990, Bialik was tied to two television pilots, Fox's Molloy and NBC's Blossom. Molloy at first produced six episodes for a tryout run, followed by the shooting of the pilot special for Blossom. The latter actually aired two weeks before Bialik's Fox series and ultimately garnered higher ratings than the former. When Molloy folded after its six episodes, Blossom premiered as a mid-season replacement on January 3, 1991, and aired until May 22, 1995.[29]
Bialik had a major part in the Woody Allen comedy film Don't Drink the Water in 1994. On September 8, 1992, Bialik was a celebrity contestant guest in the episode "Disturbing The Heavenly Peace", the first episode of the second season of the game show Where In The World Is Carmen Sandiego?. Between 1995 and 2005, Bialik mostly did voice-over work for cartoons, such as The Real Adventures of Jonny Quest, Disney's Recess and Kim Possible, Cartoon Network's Johnny Bravo, and Nickelodeon's Hey Arnold!. She appeared in the feature film Kalamazoo? (2005) and appeared in three episodes of the HBO comedy series Curb Your Enthusiasm as Jodi Funkhouser, the lesbian daughter of a friend of Larry David. Bialik also made guest appearances as a fictionalized version of herself in the series Fat Actress and made a guest appearance in an episode of Saving Grace.[30]
Bialik at the 36th Annual Gracie Awards in 2011
She had a recurring role as the high school guidance counselor in ABC Family's The Secret Life of the American Teenager. In 2009, Bialik was nominated by Clinton Kelly for a makeover on TLC's What Not To Wear.[31] She joined the cast of The Big Bang Theory as Dr. Amy Farrah Fowler. Her first appearance was in the season 3 finale as a potential love interest for the character of Sheldon Cooper (Jim Parsons). In Season 4, she began as a recurring character playing Sheldon's "friend that's a girl, but not a girlfriend." Beginning with Season 4, Episode 8, she became part of the main cast.[32] Amy is a neurobiologist, which is a field related to Bialik's real-life academic career in neuroscience. Bialik's performance in The Big Bang Theory earned her Emmy Award nominations in 2012, 2013, 2014 and 2015 for Outstanding Supporting Actress in a Comedy Series. Bialik was one of seven actresses who had a "quirky" personality to audition for the role.[33] Prior to her joining the cast, in the episode "The Bat Jar Conjecture", Raj suggests recruiting the real-life Bialik to their Physics Bowl team, saying "You know who's apparently very smart is the girl who played TV's Blossom. She got a Ph.D. in neuroscience or something." She is cast as one of the guest stars on the Steve Carell 2014 improvisational sketch show Riot.[34][35][36]
In August 2014, Bialik began hosting a revival of Candid Camera on TV Land alongside Peter Funt.[37] On March 6, 2012, her book, Beyond the Sling: A Real-Life Guide to Raising Confident, Loving Children the Attachment Parenting Way, was released.[38] Her most recent movie appearance was in a Lifetime Christmas movie, The Flight Before Christmas in 2015.[39]
Other works and writings[edit]
Grok Nation[edit]
Bialik founded Grok Nation in August 2015 for people of different ages and backgrounds to have conversations on contemporary issues. It aims to engage readers in online conversations that lead to offline action, mobilizing individuals toward changing the world as a community. To grok means to understand in a profound manner. The term comes from the 1961 science fiction novel Stranger in a Strange Land by Robert A. Heinlein. Bialik had been writing on a similar area for JTA-affiliated Jewish parenting site Kveller for five years. She announced and described her new creation on the site.[40][41][42]
Books[edit]
Bialik has written two books with pediatrician Jay Gordon and one by herself. Beyond the Sling[43][44] is about attachment parenting, while Mayim's Vegan Table contains over one hundred vegan recipes written by Bialik.[45][46] Her third book, called Girling Up, is about the struggles and ways in which girls grow up while showing the scientific ways in which their bodies change. The predecessor for “Girling Up”, “Boying Up”, was released on May 8, 2018. The book analyzes the science, anatomy and mentality of growing up as a male as well as discussing the physical and mental changes and challenges boys face with while transitioning from adolescence and adulthood.
The New York Times Op-Ed[edit]
After the Harvey Weinstein sexual misconduct allegations surfaced, Bialik penned an op-ed in The New York Times, in which she described the entertainment industry as one "that profits on the exploitation of women ... [and] the objectification of women".[47] With regard to protecting herself from sexual harassment, Bialik wrote that she dressed modestly and did not act flirtatiously with men, adding, "In a perfect world, women should be free to act however they want. But our world isn't perfect. Nothing – absolutely nothing – excuses men for assaulting or abusing women. But we can't be naïve about the culture we live in." Bialik's article drew immediate backlash from critics who said Bialik was insinuating that modesty and a conservative wardrobe can guard one against sexual assault, with Patricia Arquette tweeting, "I have to say I was dressed non provocatively at 12 walking home from school when men masturbated at me. It's not the clothes."[48] In response, Bialik stated she regretted that the piece "became what it became" and participated in a Facebook Live hosted by The New York Times to answer questions about the piece.[49]
Personal life[edit]
Bialik married Michael Stone on August 31, 2003, in a Victorian-themed ceremony that included traditional Jewish wedding customs.[50] Stone was born into a Mormon family and converted to Judaism.[51][52] Bialik and Stone have two sons, Miles (b. 2005) and Frederick (b. 2008).[53] The couple divorced in November 2012.[54]
In 2010, Bialik returned to television so that she could spend more time with her children; "I'm glad that I completed my PhD and I'm very proud of it, but the life of a research professor would not have suited my needs in terms of what kind of parenting I wanted to do."[33] In addition, Bialik had explained that her "health insurance was running out", via the COBRA program. She had sought out SAG (Screen Actor Guild) health insurance for herself, and her two sons.[citation needed]
In a 2012 interview, Bialik said she sees herself as an "aspiring Modern Orthodox".[55] Bialik has also described herself as a "staunch Zionist".[8] She is a self-professed fan of The Maccabeats, an American Orthodox Jewish a cappella group based at Yeshiva University, and appeared with her two sons lighting the menorah in the group's 2011 Hanukkah music video.[56] During the 2014 Gaza Conflict, she donated money to the IDF for armored vests.[57] She has also appeared in several YouTube cameos as Blossom and Amy Farrah Fowler asking questions about Jewish beliefs.[58] The videos are produced by Allison Josephs, Bialik's Judaism study partner, whom she encountered with the help of Partners in Torah.[59] Bialik is a celebrity spokesperson for the Holistic Moms Network.[60]
In 2014, Bialik was awarded an honorary D.H.L. degree from Boston University.[61][62]
Bialik is a vegan[63] and a founding member of the Shamayim V'Aretz Institute, a Jewish organization that advocates for the ethical treatment of animals.[64]
She said on The Late Late Show with James Corden that she identified herself as a feminist.[65]
Filmography[edit]
Film[edit]
Film
Year
Title
Role
Notes
1988 Beaches Young Cecilia "CC" Carol Bloom
1988 Pumpkinhead Christine Wallace
1990 The Kingdom Chums: Original Top Ten Petey Voice
1994 Don't Drink the Water Susan Hollander
2006 Kalamazoo? Maggie Goldman
2011 Chicago 8, TheThe Chicago 8 Nancy Kurshan
2011 The Dog Who Saved Halloween Medusa Voice
2012 Scooby-Doo! Music of the Vampire Maria Voice
2015 The Flight Before Christmas Stephanie Michelle Hunt
Television[edit]
Television
Year
Title
Role
Notes
1987 Beauty and the Beast Ellie Episode: "No Way Down"
1988 Facts of Life, TheThe Facts of Life Jennifer Cole Episodes: "The Beginning of the Beginning" and The Beginning of the End"
1988–89 Webster Frieda Recurring role (Season 6)
1989–90 Empty Nest Laurie Kincaid Episodes: "The R.N. Who Came to Dinner" and "Harry Knows Best"
1989–90 MacGyver Lisa Woodman Recurring role (Season 5 and Season 6)
1990 Doogie Howser, M.D. Candace Episode: "Ask Dr. Doogie"
1990 Molloy Molloy Martin Lead role
1990 Murphy Brown Natalie Episode: "I Want My FYI"
1990 The Earth Day Special Herself Television special
1990–95 Blossom Blossom Russo Lead role
1991 Sea World's Mother Earth Celebration (on Nickelodeon) Herself Played a mall-a-holic who knows little about animals and nature until she hears about friends' experiences. Her neighborhood mysteriously "flies off" to Sea World where she's able to use her new knowledge and learn more facts. Also featured artist/engineer/lighting designer Remo Saraceni and blind actor/singer Tom Sullivan.
1993 The Hidden Room Jillie Episode: "Jillie"
1994–95 John Larroquette Show, TheThe John Larroquette Show Rachel Episodes: "The Book of Rachel", "Rachel and Ton" and "Rachel Redux"
1995–96 Adventures of Hyperman, TheThe Adventures of Hyperman Brittany Bright Voice; Main role
1996; 1999 Hey Arnold! Maria Voice; Episodes: "6th Grade Girls/The Baseball" and "Dinner for Four/Phoebe Skips"
1996 Aaahh!!! Real Monsters Cindy Voice; Episode: "Wake Me When It's Over"
1996 Real Adventures of Jonny Quest, TheThe Real Adventures of Jonny Quest Lucy / Julia Voice; Episodes: "Assault on Questworld" and "The Alchemist"
1997; 2000 Recess Kirsten Kurst Voice; Episodes: "The Break-In", "The Girl Was Trouble" and "The Ratings Game"
1997 Johnny Bravo Tour Guide Voice; Episode: "Going Batty"
1997 Extreme Ghostbusters Girl in Future Voice; Episode: "Ghost Apocalyptic Future"
1998 Welcome to Paradox Rita Episode: "Alien Jane"
2001–02 Lloyd in Space Mean Cindy Voice; Recurring role (Season 1–2)
2003 7th Heaven Cathy Episode: "Dick"
2004 Kim Possible Justine Flanner Voice; Episode: "Partners"
2005 Katbot Paula Voice; Recurring role
2005 Fat Actress Herself Episode: "The Koi Effect" and "Holy Lesbo Batman"
2005; 2007 Curb Your Enthusiasm Jodi Funkhauser Episodes: "The Bowtie", "The Ida Funkhouser Roadside Memorial" and "The TiVo Guy"
2009 Saving Grace Esther Episode: "Mooooooooo"
2009 Bones Genie Gormon Episode: "The Cinderella in the Cardboard"
2009 'Til Death Herself Episodes: "The Break-Up", "Merit Play" and "Baby Steps"
2010 The Secret Life of the American Teenager Dr. Wilameena Bink Recurring role (Season 2–3)
2010 Who Wants to Be a Millionaire? Herself / Expert Season 8
2010–present Big Bang Theory, TheThe Big Bang Theory Dr. Amy Farrah Fowler Guest role (Season 3)
Main role (Season 4–present)
2014 Candid Camera Host Season 38
2014 Stan Lee's Mighty 7 Lady Lightning Voice; Television film
2015 Blaze and the Monster Machines Great Sphinx Voice; Episode: "Race to the Top of the World"
2016 Star vs. the Forces of Evil Willoughby Voice; Episode: "Fetch"
2017 MasterChef Junior Guest judge Episode: "Batter Hurry Up"
Web[edit]
Year
Title
Role
Notes
2013 Untitled Web Series About a Space Traveler
Who Can Also Travel Through Time B.O.O.T.H. Voice; Episode: "Second Season Prequel"
2016 YidLife Crisis Chaya Episode: "The Double Date"
2017 Rhett & Link's Buddy System Pathologist
2017; 2018 Good Mythical Morning Herself Episodes: "What's On My Head?", "3 Monkeys Blindfold" and "Dissecting A Frog"
2018 The Super Slow Show Herself Episode: "Slow Learners"
Video games[edit]
Year
Title
Role
Notes
2003 X2: Wolverine's Revenge Bush Pilot / May Deuce Voice
Written works[edit]
Bialik, Mayim Chaya (2007). Hypothalamic regulation in relation to maladaptive, obsessive-compulsive, affiliative, and satiety behaviors in Prader-Willi syndrome (Ph.D.). University of California, Los Angeles. OCLC 732917927. Retrieved 2018-05-05 – via ProQuest. (Subscription required (help)).
Bialik, Mayim; Jay Gordon (Introduction) (2012). Beyond the Sling: A Real-Life Guide to Raising Confident, Loving Children the Attachment Parenting Way. Touchstone. ISBN 978-1451662184. [66]
Bialik, Mayim; Jay Gordon (2014). Mayim's Vegan Table: More Than 100 Great-Tasting and Healthy Recipes from My Family to Yours. Da Capo Lifelong Books. ISBN 978-0738217048. [67]
Bialik, Mayim (2017) Girling Up: How to be Strong, Smart and Spectacular. Philomel Books. ISBN 9780399548604.[68]
Bialik, Mayim (2018) Boying Up: How to be Brave, Bold and Brilliant. Philomel Books. ISBN 9780525515975.[69]
Awards and nominations[edit]
Year
Award
Category
Nominee
Result
1988 Young Artist Award Best Young Actress in a Motion Picture Comedy or Fantasy Beaches Won
1990 Young Artist Award Best Young Actress Guest Starring in a Television Series Empty Nest Nominated
1992 Young Artist Award Best Young Actress in a New Television Series Blossom
1993 Young Artist Award Outstanding Young Comedian in a Television Series
2012 Primetime Emmy Award Outstanding Supporting Actress in a Comedy Series The Big Bang Theory
Online Film Critics Society Best Supporting Actress in a Comedy Series Won
Screen Actors Guild Award Outstanding Performance by an Ensemble in a Comedy Series Nominated
Satellite Award Best Supporting Actress - Series, Miniseries or Television Film
2013 Primetime Emmy Award Outstanding Supporting Actress in a Comedy Series
Online Film Critics Society Best Supporting Actress in a Comedy Series Won
Screen Actors Guild Award Outstanding Performance by an Ensemble in a Comedy Series Nominated
Outstanding Performance by a Female Actor in a Comedy Series
2014 Primetime Emmy Award Outstanding Supporting Actress in a Comedy Series
Screen Actors Guild Award Outstanding Performance by an Ensemble in a Comedy Series
Online Film Critics Society Best Supporting Actress in a Comedy Series
Critics' Choice Television Awards Best Supporting Actress in a Comedy Series
Young Hollywood Awards Best On-Screen Couple (with Jim Parsons)
TV Guide Awards Favorite Duo (with Jim Parsons)
2015 Critics' Choice Television Awards Best Supporting Actress in a Comedy Series
Primetime Emmy Award Outstanding Supporting Actress in a Comedy Series
2016 Critics' Choice Television Awards Best Supporting Actress in a Comedy Series Won
2017 Critics' Choice Television Awards Best Supporting Actress in a Comedy Series Won
References[edit]
Jump up ^ Russo, G. (2012). "Turning point: Mayim Bialik. Actress makes the shift from television to neuroscience and then back again". Nature. 485 (7400): 669–669. doi:10.1038/nj7400-669a.
^ Jump up to: a b Bialik, Mayim Chaya. "Hypothalamic regulation in relation to maladaptive, obsessive-compulsive, affiliative, and satiety behaviors in Prader-Willi syndrome" (PhD Diss., UCLA, 2007).
Jump up ^ Davis, Nicola (September 11, 2015). "Mayim Bialik: Big Bang Theory is changing the way people think of nerds and geeks". The Guardian. Retrieved May 23, 2018. Born in San Diego, California to first-generation Jewish-American parents.
Jump up ^ "Mayim Bialik". Behind The Voice Actors. Retrieved January 9, 2017.
Jump up ^ "Mayim Bialik: Mourning My Father's Death". Kveller. Retrieved March 24, 2016.
Jump up ^ "Obituaries - Obituaries". Jewish Journal. Retrieved March 24, 2016.
Jump up ^ Berkman, Meredith (March 8, 1991). "Mayim Bialik: the young feminist". Entertainment Weekly. Retrieved 11 February 2015.
^ Jump up to: a b c Stein, Jason (2011). "Big Bang Theory star thought she was auditioning for a game show". Jewish Telegraph. Retrieved April 7, 2014.
Jump up ^ Valys, Phillip (May 12, 2015). "'Big Bang Theory' star Mayim Bialik giving talk in Davie". southflorida.com. Retrieved May 23, 2018. Mayim Bialik: "I grew up in a traditional Jewish home. My grandparents are immigrants"
Jump up ^ Goldman, Michele (October 10, 2002). "Religion Blossoms for Bialik". Jewish Journal. Retrieved May 23, 2018.
Jump up ^ Das, Lina (August 6, 2017). "Mayim Bialik: How the Big Bang Theory transformed her slow-burning career". Stuff.co.nz. Retrieved May 23, 2018. a very traditional immigrant Jewish family where roles for boys and girls were very different.
Jump up ^ Pfefferman, Naomi (September 19, 2011). "'Big Bang Theory' Actress Lives at Intersection of Science, Religion [UPDATE]". Jewish Journal. Retrieved May 23, 2018.
Jump up ^ "Mayim Bialik Discusses Being Orthodox in Hollywood | Religious and Reform". The Jewish Journal. March 20, 2013. Archived from the original on March 24, 2013. Retrieved November 29, 2016.
Jump up ^ Glassman, Marvin (May 11, 2015). "Jewish actress Mayim Bialik to speak". Sun-Sentinel. Retrieved May 23, 2018.
Jump up ^ "Mayim Bialik's Big Bang". Haaretz. Retrieved May 27, 2017.
Jump up ^ King, Larry (6 May 2014). "Mayim Bialik & Melissa Rauch" (Video interview). Larry King Now. Retrieved 18 October 2014.
Jump up ^ "Mayim Bialik: From 'Blossom' to Brachot - Jewcy". Jewcy. 2009-05-06. Retrieved 2018-04-23.
Jump up ^ Kleid, Beth (February 8, 1993). "Television". Los Angeles Times. Retrieved April 15, 2014.
Jump up ^ Carter, Alan (1993-07-16). "Blossom Flowers: Mayim Bialik Grows into Adult Roles". Ew.com. Retrieved March 12, 2011.
Jump up ^ Hill, Michael E. (Sep 19, 1993). "Mayim Bialik: Playing the Role Of an American in Paris". Washington Post. p. Y.07.
Jump up ^ Biography Archived June 27, 2012, at the Wayback Machine. - official website of Mayim Bialik
Jump up ^ Jacobson, Judie. "Q&A with Mayim Bialik". Jerusalem Post. Retrieved on 15 March 2016.
Jump up ^ "Alumni Stories – Notable Alumni". Uclalumni.net. Retrieved March 12, 2011.
Jump up ^ "Biography". Mayim Bialik. Retrieved January 25, 2014.
Jump up ^ "Hypothalamic regulation in relation to maladaptive, obsessive-compulsive, affiliative, and satiety behaviors in Prader–Willi syndrome (Book, 2007)". [WorldCat.org]. 1999-02-22. Retrieved 2014-06-29.
Jump up ^ "Life After Child Stardom – Not by the Numbers". Abcnews.go.com. 2006-11-24. Retrieved March 12, 2011.
Jump up ^ Pierce, Leonard (2009-01-28). "Mayim Bialik: Random Roles". The A.V. Club. Retrieved July 5, 2009.
Jump up ^ "How Did You Get Your SAG-AFTRA Card?" TV Guide. January 13, 2014. p. 10.
Jump up ^ Patterson, Jean. "Young 'Blossom' Fans Soon Can Purchase Her Fashions". Orlando Sentinel. Retrieved 2014-09-08.
Jump up ^ "Mayim Bialik Learns What Not to Wear". Celebrity-babies.com. 2010-11-15. Retrieved March 12, 2011.
Jump up ^ [1], additional text.
Jump up ^ Ausiello, Michael (2010-11-15). "'Bang Theory' ups Mayim Bialik to Regular". deadline.com. Retrieved January 30, 2011.
^ Jump up to: a b Perricone, Kathleen (2012-08-28). "Why Mayim Bialik returned to TV after getting her PhD | Goddess: Celebrity Moms and Dads - Yahoo Celebrity". Omg.yahoo.com. Retrieved January 25, 2014.
Jump up ^ Kroeger, Jake (April 8, 2014). "Fox Improv Show RIOT Will Feature Steve Carell, Jason Alexander, Cheryl Hines". Nerdist. Retrieved April 10, 2014.
Jump up ^ Geddes, Robin (April 8, 2014). "Steve Carell, Big Bang Theory's Mayim Bialik for new Fox series Riot". Digital Spy. Retrieved April 10, 2014.
Jump up ^ Swift, Andy (April 8, 2014). "Exclusive: Steve Carell and Cheryl Hines Among Celebrity Guests in Fox Improv Series Riot". TV Line. Retrieved April 10, 2014.
Jump up ^ "'Big Bang Theory' Star Mayim Bialik to Host 'Candid Camera' Reboot". TheWrap. July 24, 2014. Retrieved August 12, 2014.
Jump up ^ Weaver, Stephanie (March 5, 2012). "Actress Mayim Bialik writes book on 'attachment parenting'". USA Today.
Jump up ^ "The Flight Before Christmas (TV Movie 2015)". IMDb. 1 December 2015. Retrieved 20 June 2017.
Jump up ^ "Big Bang Theory Star Mayim Balik Launches Lifestyle Site GrokNation - Great Ideas : People.com". People Great Ideas. Retrieved March 24, 2016.
Jump up ^ "Mayim Bialik launches own website". The Times of Israel. Retrieved March 24, 2016.
Jump up ^ Gabe Friedman (August 11, 2015). "Mayim Bialik Launches Her Own Website, GrokNation". The Forward. Retrieved March 24, 2016.
Jump up ^ Beyond the Sling: A Real-Life Guide to Raising Confident, Loving Children the Attachment Parenting Way: Ph.D. Mayim Bialik Ph.D., Dr. Jay Gordon: 9781451662184: Amazon.com: Books. ASIN 1451662181. CS1 maint: ASIN uses ISBN (link)
Jump up ^ "Beyond The Sling - Mayim Bialik - Simon and Schuster". Retrieved March 24, 2016.
Jump up ^ "Writing". Mayim Bialik. Retrieved March 24, 2016.
Jump up ^ Mayim's Vegan Table: More than 100 Great-Tasting and Healthy Recipes from My Family to Yours: Mayim Bialik, Jay Gordon: 9780738217048: Amazon.com: Books. ASIN 0738217042. CS1 maint: ASIN uses ISBN (link)
Jump up ^ Bialik, Mayim (October 13, 2017). "Mayim Bialik: Being a Feminist in Harvey Weinstein's World". The New York Times. Retrieved October 17, 2017.
Jump up ^ Sheth, Sonam (October 14, 2017). "The Big Bang Theory' star's op-ed about Harvey Weinstein sparks outrage on Twitter". Business Insider. Retrieved October 17, 2017.
Jump up ^ The Associated Press (October 16, 2017). "Mayim Bialik Discusses Weinstein Comments After Backlash". The New York Times. Retrieved October 17, 2017.
Jump up ^ "Mayim Bialik Shares Jewish Wedding Story". CelebrityBrideGuide.com. 2009-06-01. Retrieved December 30, 2016.
Jump up ^ Bialik, Mayim (2011-03-09). "Mayim Bialik's Husband, Mike, was a Mormon". Kveller.com. Retrieved January 25, 2014.
Jump up ^ Bialik, Mayim. "From Mormon to Jew - Kveller, Jewish Family & Children". Kveller.com. Retrieved January 25, 2014.
Jump up ^ Allin, Olivia (May 21, 2012). "Mayim Bialik talks about attachment parenting, sharing a family bed". ontheredcarpet.com.
Jump up ^ ""Big Bang Theory" star Mayim Bialik and husband to divorce after nine years". CBS News. 23 November 2012.
Jump up ^ Cohen, Marla (May 2012). "Geek Love, Parenting, and Judaism". Jewish Federation of Rockland County. Archived from the original on May 12, 2012.
Jump up ^ Bialik, Mayim (9 December 2011). "Mayim's Miracle Maccabeats Debut". kveller.com. Retrieved 30 March 2017.
Jump up ^ "'Big Bang' star Mayim Bialik helps send bulletproof vests to IDF". The Washington Times. 2013-07-30.
Jump up ^ "'Science vs. Religion: Mayim Bialik and the Other Big Bang Theory'". Jew in the City. October 31, 2011. Retrieved January 25, 2014.
Jump up ^ "Mayim Bialik to Guest Star on a Very Special Jew in the City!". Jewinthecity.com. 2009-05-20. Retrieved January 25, 2014.
Jump up ^ "Meet Mayim Bialik: Actress and Holistic Mom". Holistic Moms Network. 2009-07-07. Retrieved March 12, 2011.
Jump up ^ BU to Award Doctor of Humane Letters to Big Bang Theory Star - website of Boston University
Jump up ^ Mayim Bialik: My Honorary Degree From Boston University - website Kveller.com
Jump up ^ "Exclusive: Mayim Bialik Gets Her Eco On At The Go Green Expo In Los Angeles". Ecorazzi.com. 2010-01-20. Retrieved March 12, 2011.
Jump up ^ "The Shamayim V'Aretz Institute - A Center For Jewish Spirituality and Leadership - Leadership". Shamayimvaretz.com. 2013-03-21. Retrieved January 25, 2014.
Jump up ^ "Watch The Late Late Show - #Cleavagegate: Mayim Bialik Flashes Hers to Piers Morgan trailer -AT&T U-verse". Retrieved March 24, 2016.
Jump up ^ "About the book - BEYOND THE SLING". Mayimbialik.net. Retrieved 2014-06-29.
Jump up ^ "Mayim's Vegan Table". Mayimbialik.net. 2014-01-19. Retrieved 2014-06-29.
Jump up ^ "Detroit Free Press". ‘Big Bang Theory’ star shares her wisdom in ‘Girling Up’. Retrieved 2017-05-28.
Jump up ^ "Grok Nation". Mayim answers questions about her new book‘Boying Up’. Retrieved 2018-05-15.
External links[edit]
Wikiquote has quotations related to: Mayim Bialik
Wikimedia Commons has media related to Mayim Bialik.
Official website
Grok Nation
Mayim Bialik on IMDb
Mayim Bialik at AllMovie
Mayim Bialik on kveller
Interview with Mayim Bialik, September, 2017, Jackson Sun, accessed September 17, 2017.
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Indigenous North American stickball
From Wikipedia, the free encyclopedia
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Stickball match at Cherokee National Holiday, Tahlequah, Oklahoma, 2007
Native American stickball is considered to be one of the oldest team sports in North America. Stickball and lacrosse are similar to one another, the game of lacrosse is a tradition belonging to tribes of the Northern United States and Canada; stickball, on the other hand, continues in Oklahoma and parts of the Southeastern U.S. where the game originated. Although the first recorded writing on the topic of stickball was not until the mid-17th century, there is evidence that the game had been developed and played hundreds of years before that.
Contents
[hide]
1 History
1.1 Rituals
2 The modern game
3 Equipment
4 See also
5 References
History[edit]
Jim Tubby, Mississippi Choctaw, preparing for a stickball game in 1908.[1]
See also: History of Lacrosse
Traditional stickball games were sometimes major events that could last several days. As many as 100 to 1,000 men from opposing villages or tribes would participate. The games were played in open plains located between the two villages, and the goals could range from 500 yards (460 m) to several miles apart.[2] Rules for these games were decided on the day before. Generally, there was no out-of-bounds, and the ball could not be touched with the hands. The goals would be selected as large rocks or trees; in later years wooden posts were used. Playing time was often from sun up until sundown.
The game began with the ball being tossed into the air and the two sides rushing to catch it. Because of a large number of players involved, these games generally tended to involve a huge mob of players swarming the ball and slowly moving across the field. Passing the ball was thought of as a trick, and it was seen as cowardly to dodge an opponent. Medicine men acted as coaches, and the women of the tribe were usually limited to serving refreshments to the players and betting on the sidelines.[3]
The historical game played a huge role in the peace kept between tribes who played it. The game was not only used as a way to settle disputes and grievances among the many tribes but was also played to toughen young warriors for combat, for recreation, as part of festivals, and for the bets involved. Often before the game was even played terms would be set and agreed upon and the losing team would have no choice but to accept the outcome. If a tribe did not accept the terms of the game, the dispute often would end in battle.[4]
Although the entire historical timeline of the game is only fragmentary, there have been several documented games throughout history that have not only impacted the tribes but the nation as a whole. In the mid-17th century, a Jesuit missionary named Jean de Brébeuf was the first to write about the Native American game after witnessing the Huron Indians play. Even though the Jesuit despised the game and condemned it for its violent nature, many English colonists were captivated by it and began playing the game themselves.
One of the most historical references to the game was in 1763 when the Ottawa tribe used a game of stickball to gain entrance into Fort Mackinac. The chief of the Ottawa’s, Chief Pontiac invited soldiers from the fort to watch a game in honor of the king’s birthday. While the soldiers enjoyed the festivities and entertainment the Ottawa players moved close enough to rush the fort and massacre the soldiers.
In 1834 after the Caughnawaga Indians demonstrated a game of stickball in Montreal, Canada. Many Canadians took interest in the game and in 1856 William George Beers codified the aboriginal game into modern lacrosse.
These ancestral games of the Native Americans are still played by many tribes across North America today, however, it was not until around the mid- to late-20th century that the Native American game of stickball began to see a what some[who?] have called a "renaissance" across the southern region of North America.[5]
Rituals[edit]
"Ball-play Dance" by George Catlin, 1834. Before the match, players and their supporters passed the night in singing, dancing, and soliciting divine support.
Pre-game rituals were very similar to rituals associated with war. The night before the game was to be played a tribal ball dance was held in which most of the community would take part. The dances consisted of conjuring ceremonies and spiritual songs and practices that were believed to bring good luck to the team. The players wore ceremonial regalia, sacrifices were held, and sacred expressions were yelled to intimidate opponents.[6]
The medicine man performed rituals to prepare players and their sticks. One by one the Shaman would take each player away from the dance to perform the “mystic rite known as going to the water” at which time the shaman blesses the game and each player receives ritualistic scratches that were said to “cause the blood to flow more freely” during the game, assuring a win for the team. In many instances, winning the game meant winning a dispute with another tribe or community.[7]
Players would decorate their bodies with paint and charcoal and their sticks or stick racks with objects representing qualities desired in the game. In addition to athletic training, strict taboos were held on what players could eat before a game. Players would fast and be banned from eating certain foods in hopes that the absence of this food would mentally, spiritually, and physically enhance the player’s capability to move the team towards a win in the game.[7]
On the day of the game, teams walked to the field and were slowed by constant rituals. Before the game, every player was required to place a wager. Items such as handkerchiefs, knives, trinkets, horses, and even wives and children would be at stake. The bets would be displayed on a rack near the spectators, and items would be awarded proportionally to the winner of each quarter.[8][9] When the game was over another ceremonial dance took place, along with a large feast for the hungry players.[7]
The modern game[edit]
Kullihoma Stickball Tournament
Though the size of the game may have dwindled over the years, “the game played today is not that different from the historical version.”[10]
Much like the game of the tribal ancestors, today stickball is bringing tribal people and communities together in schoolyards and college campuses across the southern states. Many of the southeastern tribes in the U.S. are beginning to see more games being played at tribal festivals and tournaments. The modern game of stickball is, in fact, experiencing such a resurgence that several tribal tournaments are being held annually across the nation, such as the Jim Thorpe Games and the Choctaw Labor Day Festival. The World Series hosted by the Mississippi band of Choctaws in Philadelphia, Mississippi is “arguably the biggest, most hotly con-tested Indigenous ballgame in the country.”[11]
The game today is played on a field roughly about one hundred yards with a tall cylindrical pole or set of poles at each end of the field for goals. Points are scored by hitting the pole with the ball or game sticks while holding the ball or running through the set of poles with the ball.[5] In recreational games, scoring is loosely kept, most times by the audience or a few players.
Historically and presently every game begins with a jump ball thrown into the middle of the field, groups of players from each team scramble and fight to get the ball and launch it towards their goal with their sticks. The beginning of the game has been described as “rolling and tumbling over each other in the dust, straining and tugging for possession of the ball”[7]
Although the number of players participating in the game is somewhat unimportant, the number of players from each team on the field must be equal and is normally about thirty from each team.[5] In many games the players are split into three groups on the field. One group or the “pole men” guard their own goal to prevent the other team from scoring. The second group is placed in the middle of the field and is responsible for moving the ball down the field towards the goal to score points, and the third group or “returners” are gathered around the opponent’s pole to help their team score points on the opposing team’s pole. Due to the nature of the game and the number of players trying to retrieve one ball, injuries are unavoidable.[11]
Stickball is and always has been a full-contact sport played without protective padding, helmets, and in most cases without shoes. The earlier game had very few rules and because the game was often used as an alternative to war, fatalities did occur. Today stickball injuries are common, however, there are rules in place to prevent players from being seriously injured. A few of the most common rules include no touching the ball, no swinging sticks at other players, no hitting below the knees, and the only player that can be tackled is the one in possession of the ball and the player doing the tackling must drop his sticks first.[5]
In contemporary stickball games, it is not unusual to see women playing. Female stickball players are the only players on the field who are not required to use sticks and are allowed to pick up the ball with their hands, while men are always required to play with a pair of stickball sticks.[5] Teams are usually split into men vs. women for social games. The men will suffer some sort of penalty or disqualification for being too aggressive towards the women players, but the women have no such restrictions on their methods of playing.[5]
Equipment[edit]
Choctaw Stickball Sticks
Depending on the tribe playing the game, stickball can be played with one or two wooden sticks made from tree trunks or saplings of hardwood such as Hickory. The wood is thinned at one end and bent around and attached to the handle to form a loop that is bound with leather or electrical tape. Leather strips are stretched across the back of the loops on the sticks to form netting so the ball can be caught and held in the cup of the stick.[5]
Some versions of stickball used unusual stick designs, for instance, in the St. Lawrence Valley a version was played in which the head took up two-thirds of the stick. In the Southwestern United States a double-stick version was played with sticks about two and a half feet long.[12]
Many early stickball sticks were essentially giant wooden spoons with no netting.[13] A more advanced type had one end bent into a 4 to 5-inch (130 mm) diameter circle, which was filled with netting.[14] This netting was made of wattup or deer sinew.[15]
Many players decorate their playing sticks with hair from animals such as horses or raccoons hoping to match desirable qualities of that specific animal, such as speed or agility.[5] Some sticks often had elaborate carvings on them intended to help players in the game, sticks were so treasured that many players requested to be buried with their stick beside them.[9]
Much like the sticks used in the game, the game ball is handmade from “tightly wadded cloth” and wrapped in a weaving of leather strips.[5] Some early stickball balls were made out of wood. Others were made of deerskin stuffed with hair.[16] They were typically three inches in diameter.[17]
See also[edit]
Culture of the Choctaw
First Nations Lacrosse Association
References[edit]
Jump up ^ Stancari, Lou (2009-11-23). "Further information at NMAI (scroll down)". Blog.photography.si.edu. Retrieved 2012-05-30.
Jump up ^ ^ Jump up to a b "Lacrosse History". STX. Archived from the original on 2007-05-24. Retrieved 2007-02-24.
Jump up ^ Culin, Stewart. Games of the North American Indians (Dover Publications, 1907) ISBN 978-0486231259. pg 580, 607.
Jump up ^ , Olson, Ted. "Cherokee Stickball: A Changing Tradition." Journal of the Appalachian Studies Association 5 (1993): 84-93. JSTOR. Web. 5 Oct. 2013.
^ Jump up to: a b c d e f g h i Reed, Lisa. "Revitalization of Choctaw Stickball in Oklahoma.” Biskinik [Durant] Dec. 2011, I Fabvssa sec.: 9. Choctaw Nation. Web. 07 Oct. 2013.
Jump up ^ Culin, Stewart. Games of the North American Indians (Dover Publications, 1907) ISBN 978-0486231259. pg 563-577.
^ Jump up to: a b c d Mooney, James. "The Cherokee Ball Play." Sacred Texts. The American Anthropologist, n.d. Web. 04 Nov. 2013. <http://www.sacred-texts.com/nam/cher/cbp/cbp.htm>.
Jump up ^ Culin, Stewart. Games of the North American Indians (Dover Publications, 1907) ISBN 978-0486231259. pg 584.
^ Jump up to: a b Conover, Adele. "Little Brother of War." Smithsonian Dec 1997: pg 32.
Jump up ^ Maisch, Linda. "Ishtaboli (Choctaw Stickball)." Dreamcatcher Magazine n.d.: n. pag. Dreamcatcher. Dreamcatcher, 6 Oct. 2011. Web. 04 Oct. 2013.
^ Jump up to: a b "Stickball-the Choctaw National Sport." Bishinik [Durant] July 2010, I Fabvssa sec.: 14. Choctaw Nation. Web. 07 Oct. 2013.
Jump up ^ Vennum, Thomas (1994). American Indian Lacrosse: Little Brother of War. Smithsonian Institution. ISBN 9781560983026.
Jump up ^ Culin, Stewart. Games of the North American Indians (Dover Publications, 1907) SBN 978-0486231259. pg 594.
Jump up ^ Culin, Stewart. Games of the North American Indians (Dover Publications, 1907) SBN 978-0486231259. pg 566.
Jump up ^ Liss, Howard. Lacrosse (Funk & Wagnalls, 1970) pg 9.
Jump up ^ "Living Traditions | Lacrosse". Museevirtuel.ca. Archived from the original on 2011-07-06. Retrieved 2012-05-30.
Jump up ^ Culin, Stewart. Games of the North American Indians (Dover Publications, 1907) SBN 978-0486231259. pg 563.
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