text:
Talk:Tensegrity

Bridges
I have removed this section:

Technically, every bridge constructed since the dawn of human kind is an example of tensegrity. Dropping a log across a stream is, basically, 'tensegrity', since the fibers on the top of the log undergo compression, while the fibers on the bottom undergo tension. Ancient suspension bridges of rope and sticks are another example.

As far as my understanding goes, what distinguishes a tensegrity system from other types of structural system is that in a tensegrity, the compression members are discontinuous (ie. not touching). While it is true that a beam contains both tension and compression, this is bending and not a tensegrity. Peterleroux 15:12, 16 February 2007 (UTC)
 * I have learnt the same thing. The principle behind this is that any construction can be reversed. I.e substituting tension with compression and vice versa. Like Antonio Gaudi did when he modeled the Sagrada Familia. I believe Buckminster Fuller first postulated this and Snelson made the first Tensegrity sculpture. DrNumLock 01:46, 30 October 2007 (UTC)

Photograph
I have added a drawing which I did to illustrate an article,(Peterleroux 07:12, 31 January 2007 (UTC)) as well as a photograph I took of the Needle Tower which I believe to be covered by fair use. Removed Requires photograph notice Peterleroux 06:26, 2 February 2007 (UTC)

The right handside drawing is wrong. The top square should be rotated 45 degrees relative to the bottom square to achive tensegirty. The left handside drawing is not very good either. —Preceding unsigned comment added by 121.222.9.74 (talk) 16:13, 28 June 2008 (UTC)

Totally agree tensegrity is every were. Especially in a bicycle wheel, all pneumatic structures.

Try my web site on discontinuos structures. 1000 and 1 floating modular stuctures.

www.tombarber.com

Biological Cell Tensegrity
In his articles on 'Cellular Tensegrity', Ingber consistently present the protein cytoskeleton as a 'Tensegrity' structure - if this were the case, it should be free standing on extraction - it is not. Moreover, likening it to a geodesic dome structure is an inaccurate comparison, since these are designed to maintain a certain shape, and biological cells are flexible. Its a case of a superficial visual relationship, but an apposite functional truth.

 * My understanding is that cytoskeletons function as tensegrity structures but that some of the tension members are membranes, not cables. In that sense, isn't removing a membrane or removing hydrostatic forces that pre-stress membranes is equivalent to dismantling the structure? Peterleroux 06:30, 2 February 2007 (UTC)

My point entirely - the entire CELL (viscous fluids + solid proteins) forms the structure - Glanz and Ingbers models are of the proteins alone - if some of the tension members are membranes, it is impossible to build a model that omits them? Analogy - if you attempt to explain the motions and shape changes of a tree bending in the breeze, and omit from your model the fluid in which the tree is embedded, you end up with a 'contractile tree model' - which is totally inaccurate, as the actual force inducing the motion and the tree's shape at any given instant ( the movement of the fluid air in which it is embedded) is dismissed as irrelevant - you therefore end up with an entirely misleading model. —Preceding unsigned comment added by 80.225.158.38 (talk) 03:27, 23 December 2007 (UTC)

Kenneth Snelson
Though B. Fuller is recognized by popular press as the "creator" of the concept of tensgrity and the tension-compression structures built on the idea, it is well understood that K. Snelson was the original designer who presented this idea of "floating compression" to Fuller. Perhaps this article should be amended as to include this information? --Sjschen 08:46, 6 February 2006 (UTC)
 * I think this article does a pretty good job of giving the basic relationship between Snelson and Fuller without falling victim to the tremendous controversy between them, and without mentioning the ill-will Snelson carried for Fuller ever afterward. That's an important part of their story, but doesn't belong in this brief description of the concept and history of tensegrity, itself. I applaud the restraint shown here. rowley (talk) 18:33, 4 March 2016 (UTC)

Section removals
The following text has been removed for possible copyright infrongement. The text is identical to this page: http://www.synearth.net/TensegrityHtml/Tensegrity.html

== Yes, I have written permission to use this information in whole or in part. I am in the process of editing out the unnecessary parts. --Sv==

ah. ok. cool. YOu can restore the article from the edit history. Sorry about this, but we have to check for infringement. -- Tarquin 19:47 Oct 15, 2002 (UTC)

I uberunderstand - SV

The original author of that article you're importing understands that the parts of their article that are imported to Wikipedia will be released under the GNU Free Documentation License, right? -- Tarquin

Tensegrity is the pattern that results when push and pull have a win-win relationship with each other. The pull is continuous and the push is discontinuous. The continuous pull is balanced by the discontinuous push producing an integrity of tension – compression.

Push and pull seem so common and ordinary in our experience of life that we humans think little of these forces. Most of us assume they are simple opposites. In and out. Back and forth. Force directed in one direction or its opposite.

Buckminster Fuller explained that these fundamental phenomena were not opposites, but compliments that could always be found together. He further explained that push is divergent while pull is convergent.

Imagine pushing a yellow ping pong ball on a smooth table with the point of a sharp pencil. The ball would always roll away from the direction of the push, first rolling one way then the other. Push is divergent. Now imagine the difference, if you attach a string to the ping pong ball with tape, and pull it toward you. No matter how other forces might influence the ball to roll away from you, the string would always bring it to you more and more directly. Pull is convergent.

Another example from common experience occurs when we are pulling a trailer with our car. When I am driving uphill, I am pulling against gravity. The trailer converges nicely behind my car. If the trailer begins to sway, I can dampen it by increasing pull – simply increasing my acceleration. Now if I am driving downhill, the trailer may begin to push. This produces a strong side to side force – divergence. My trailer will begin to sway from side to side. Push is divergent. When the trailer begins to push us, experts advise us to accelerate our car in order to re-establish pull. Pull is convergent. The trailer will straighten out and we can congratulate ourselves for being good drivers. These then are the two always co-existing fundamentals of Universe – Push and Pull – Compression and Tension – Repulsion and Attraction.

Tensegrity Seeking the Gift Tensegrity TrustMark 2001 by Timothy Wilken

Tensegrity Theory Explained
"A more common example of a tensegrity is a child's balloon. When we examine an inflated balloon as a system, we find that the rubber skin of the balloon continuously pullswhile the individual molecules of air are discontinuously pushingagainst the inside of the balloon keeping it inflated. All external forces striking the external surface are immediately and continuously distributed over the entire system. This makes the balloon very strong. We all know how hard it is to break a good balloon with a blunt blow. Molecules of air discontinuously pushing against the continuously pulling rubber skin of the balloon. Tensegrity — a balance of continuous pull and discontinuous push. The automobile tire is one of the strongest most durable inventions in the history of humankind. And few of us are aware that it is a tensegrity. It is the power of tensegrity in each tire that protects us from failure and blowout despite high speeds and long miles. A tensegritythen is any balanced system composed of two elements – a continuous pull balanced by discontinuous push. When these two forces are in balance a stabilized system results that is maximallystrong. The larger the system the stronger the system. Most of humanity knows of Fuller's discovery of the Geodesic Dome, but few realize that geodesic domes are themselves tensegrities: 'The great structural systems of Universe are accomplished by islanded compression and omnicontinuous tension. Tensegrity is a contraction of tensional

Tensegrity Seeking the Gift Tensegrity TrustMark 2001 by Timothy Wilken 3

integrity structuring. All geodesic domes are tensegrity structures, whether the tension-islanded compression differentiations are visible to the observer or not.Tensegrity geodesic spheres do what they do because they have the properties of hydraulically or pneumatically inflated structures.' 2

We are all familiar with the geodesic dome at Disney World in Florida. The larger the tensegrity the stronger it is. Theoretically there is no limitation to the size of a tensegrity. Cities could be covered with geodesic domes Planets could be contained within them. The only limiting factors are the amount of materials and the degree of our technologies. As Harvard physician and scientist Donald Ingberexplains: 'The tension-bearing members in these structures – whether Fuller's domes or Snelson's sculptures – map out the shortest paths between adjacent members (and are therefore, by definition, arranged geodesically) Tensional forces naturally transmit themselves over the shortest distance between two points, so the members of a tensegrity structure are precisely positioned to best withstand stress. For this reason, tensegrity structures offer a maximum amount of strength

2R. Buckminster Fuller, SYNERGETICS—Explorations in the Geometry of Thinking, Volumes I & II, New York, Macmillan Publishing Co, 1975, 1979

Tensegrity Seeking the Gift Tensegrity TrustMark 2001 by Timothy Wilken 4

for a given amount of building material.' 3

Biological Tensegrities My own search for tensegrities began in 1980. As a trained physician, my attention first turned to the human body. I recognized two tensegritiesinstantly which are systems of the human body. The muscle- skeletal systemis atensegrityof muscle and bone, the muscle provides continuous pull, the bonesdiscontinuous push.The forces between the bones and muscles are held in constant balance. This forms the basis for all of our physical mobility. The central nervous system also functions as a tensegrity. The sensory-motor systemis a tensegrity of sensory neurons and motor neurons. The sensory neurons always sensing information – continuously pullingand the motor neurons only occasionally involved in some motor action – discontinuously pushing. 3

Donald E. Ingber, The Architecture of Life, Scientific American Magazine, January 1998

Tensegrity Seeking the Gift Tensegrity TrustMark 2001 by Timothy Wilken

5 Finding Other Tensegrities However, my focus was above the cellular level. I wanted to understand how individual organisms related to each other and again I expected that the concept of tensegrity would help us understand. I was quite familiar with Alfred Korzybski's operational definitions of Plants, Animals and Humans as Energy-binders, Space-binders, and Time-binders. (Read Korzybski's discussion in Manhood of Humanity _Chapter 3, Classes of Life.)

So I then as I examined the three classes of life, I began looking for tensegrities. Plants –the energy-binders have their primary relationship with the sun. Their leaves are continuous pullingas they collect solar energy from the sky, but with the rotation of the earth and changes in the weather the sun only discontinuously pushesits radiation on to the leaves.

•Photosynthesis-Radiationis the energy-binder tensegrity.

Animals – the space-binders are usually fighting or fleeing. They are generally limited to two roles either as prey or as predator. The prey animals are continuous pulling predators to them. While the predators are only occasionally hungry. They discontinuously pushout seeking the occasional kill. Prey and predator must be in balance to stabilize the ecosystem. The larger the ecosystem the more stable it is.

•Prey-Predatoris the space-binder tensegrity.

An associate of mine, Ms.Leann Roberts, recognized that even our human sexual roles as Female and Male operate as a tensegrity. The femalewas continuouslymaking herself attractiveto pull on her male, but the malewas only occasionally interested and discontinually pushingtowards her for attention.

Humans – or time-binders have the power of understanding. We develop understanding through education. The two roles of humans can then be seen to be Student and Teacher. I am continuously learning – continuously pullingin new information, but I am only occasionally teaching – discontinuously pushingout information to someone else.

Tensegrity Seeking the Gift Tensegrity TrustMark 2001 by Timothy Wilken

6 •Student-Teacherthen is the time-binding tensegrity.

If we examine the three classes of life from the viewpoint of their relationships with each other, we can see that: Plants as the independent class of life have no relationship with each other. They mostly ignoreeach other and form no tensegrity. Animals as the dependentclass of life have a negative relationship with each other. They form an adversary tensegritywhere the prey is continuously at risk of being hurtand the predator is discontinuously hurting other. Humans as theinterdependent class of life can have positive relationships with each other. We can form a synergic tensegritywhere we are continuously being helpedand discontinuouslyhelpingother.

Tensegrity Seeking the Gift Tensegrity TrustMark 2001 by Timothy Wilken

7 Animals and other biological structures are made strong by their tensioned and compressed parts. Muscles and bones act in unison to increase the strengthen the other. This kind of strength goes to the cellular level, and is a somewhat new understanding of biological structuring.

Tensegrity also refers to a means of creating structures, using rods and wires. The rods are always in compression and the wires in tension, the rods do not connect with each other but are held in place by the wires, no member is parallel or perpendicular. A completed structure resists pressure in one plane but compresses and then returns if subject to force in the opposing plane.

The concept was discovered by Kenneth Snelson at Black Mountain College in 1948, the term 'tensegrity' was coined for Snelson by Buckminster Fuller from tensional integrity. Snelson used the concept to produce sculptures such as his 18 metre high Needle Tower (1968). The idea was adopted into architecture in the 1980s with David Geiger designing the first significant structure - a competition hall for the Summer Olympics of 1988."

Accuracy
This bit:

All external forces striking the external surface are immediately and continuously distributed over the entire system, meaning the balloon is very strong despite its thin material. Similarly, thin PVC plastic membranes such as a plastic bags are often stronger when loaded rather than unloaded.

...doesn't seem right. Both claims are highly dubious.

The first seems to imply violations of the light speed limit - and is simply inaccurate. The second is vague to the point of being meaningless.

I think the second statement about thin films being stronger when loaded either needs to be expanded to say why, or should be removed. Coming from a materials engineer if even I am unsure of what it means something is up. The only thing I can think is the person is somehow referencing force normal to the surface of the film, and by stronger somehow means that the force required to move the film a distance increases.

no size limits??
"Theoretically, there is no limitation to the size of a tensegrity. Cities could be covered with geodesic domes. " I think this is misleading. Geodesic domes, like all arches, are primarilly in compresson. Additionally, there would be a size so large that no material would have sufficient strength to weight. The structure would collapse under its own weight. —Preceding unsigned comment added by 207.67.115.158 (talk) 18:19, 8 July 2008 (UTC)
 * Yes, I think an opposing view would be welcome. A citation is needed.  There are plenty of citations around for the "no size limits" idea.  And Fuller also proposed the Cloud Nine idea where whole spheres could be floated through the atmosphere.  I think thermal differentials are involved with the Cloud Nines.  Perhaps they are also a part of Fuller's reasoning for the domes.  Your analysis is interesting, but we need a verifiable reference. Bob Burkhardt (talk) 19:46, 1 May 2009 (UTC)

I am in agreement that there are limitations. While I located references to Fuller's claims like R. Buckminster Fuller BUCKMINSTER FULLER—An Autobiographical Monologue/Scenario, 1980, ibid there are still structural members under compression that bear the weight and must eventually collapse in column. This said, there can be argument as to what is the column? If the column itself consists of a tensegrity tower then it changes the concept of what structure we are describing. Certainly man has created structures rising 2000 feet such as skyscrapers and this route would allow you to go far higher albeit with a larger foot print. I think a compromise position is best here and rather than claiming an absolute, it is better to claim something like nearly. Certainly materials have a limitation and you can only compress something so much before you end up turning it into a liquid. I'm not deleting this paragraph in case others in the which to provide input. Pbmaise (talk) 00:13, 24 October 2011 (UTC)

Meaningless?
Does the paragraph starting "In example, the formation of functioning architectures in one particular area of cybernetics research [...]" actually mean anything? Maybe there is some missing context, but I've rarely seen worse cases of Star-Trek-worthy impenetrable technobabble. — Coren (talk) 16:23, 15 September 2008 (UTC)

Error in diagram

The diagram showing the three- and four-rod structures both contain an error. Each rod needs to extend past the base of the next rod. The four-rod one, for example, appears to be inscribed in a cube. In fact, the upper square needs to be twisted more. A stable tensegrity structure needs at least three of the tension members attached to an end of a compression member need to Looking at the three-beam structure in this image, at the top of the right beam, the three tension members are all pulling left in the image, making the structure unstable. —Ben FrantzDale (talk) 23:07, 7 December 2008 (UTC)
 * 1) be applying compressive force to the compression member (otherwise they aren't compressing the compression member)
 * 2) be spread out so that looking down the axis of the compression member, the maximum angle between two tension members must be less than 180 degrees (otherwise they are pulling the compression member to one side)

 * Yes, the basic connectivity is correct, but the lengths of the rods and cables are wrong.- (User) Wolfkeeper (Talk) 00:04, 8 December 2008 (UTC)

 * Here we go. —Ben FrantzDale (talk) 01:03, 8 December 2008 (UTC) [[Image:3-tensegrity.svg|thumb|right]]

Recommend Major Revisions
this is not my field, therefore I am not going to attempt what I am suggesting myself. Below are a few isolated aspects, that sprung to my attention most intensely -- TrisQ

"Two cables would be unstable, like a person on a slackrope; one cable is just the limit case of two cables when the two cables are anchored in the same place." (unclear)

" As long as the angle between any two cables is smaller than 180° as seen looking along the rod,... " (unclear. Also recommend to use the term "when projected along the compression member (onto a plane normal to it)" to precisify).

" Planets and stars (Dyson sphere) could be contained within them. " (pretty remote association) —Preceding unsigned comment added by 71.139.165.24 (talk) 05:34, 20 July 2009 (UTC)

 * I wrote the first two of those. I agree they could be clarified a bit more, probably with diagrams. As for the Dyson sphere business, I agree that's a little far-fetched. It is relevant that such constructions have been suggested as applications, though. —Ben FrantzDale (talk) 13:02, 20 July 2009 (UTC)

It is how the system works that is important. I see only confusion to the reader when talking about things that don't work. For this reason I have removed mention of slackrope. It takes the three points, and discussion that 2 or 1 point doesn't work is not relevant. Pbmaise (talk) 02:54, 24 October 2011 (UTC)

I have removed the mention of using tensegrity to enclose planets or stars. Dyson himself states according to the dyson sphere page that he did not envision a fixed system. Further, why bother mentioning something that is a pure fiction and that would utilize more resources than we have on earth. Its like saying we can cover all of Europe. Showing what really is impossible to do with this technique only dilutes what is possible.Pbmaise (talk) 02:54, 24 October 2011 (UTC) Well I spent nearly the entire day reading some of the support documents listed in the external resource area and find that Snelson is very creditable in his views on this subject and that Fuller seems to have been full of hot air. For this reason I also removed it can be scaled up to cover an entire city. I also included direct quotes found made by Snelson in correspondence. Pbmaise (talk) 12:40, 24 October 2011 (UTC)

Distracting animations
Hi, I would like to suggest that we replace the two animations with static pictures, and add links to the animated versions. Having such frantic animations next to the text that you are trying to read is very distracting and annoying. 109.151.57.53 (talk) 18:10, 26 December 2011 (UTC)
 * Whilst I personally don't find the animations distracting, I can understand your concern. To me, the animation describes the structure much better. Another compromise would be to extract the most representative frame from the animation and use it along with a collapsed table cell containing the animation, as in the example on the right. cmɢʟee'τaʟκ'maιʟ 19:36, 2 January 2012 (UTC)
 * Yes, I think a single frame extracted from the animation would serve very well. That was what I had in mind in fact. My idea was that in the caption of the frame there could be a link like this: Animation. 86.176.210.154 (talk) 20:25, 3 January 2012 (UTC)
 * Oh, also, if you have an interest in doing it, I think it would be nice to slow down the second animation. For me, It's rather too fast to follow. And sorry, I forgot to say amongst all my criticism that the graphics are really very nicely done. 86.176.210.154 (talk) 20:30, 3 January 2012 (UTC)
 * Thanks. I've replaced the animations with stereoscopic versions with links to the animations. How are they? I think the animation speed is fine; the animation will be rather jerky if I slow it down any further. cmɢʟee☎✉ 00:30, 22 January 2012 (UTC)
 * Yes, I think that's much better. Much easier on the eye while one is reading the text, and the animations are just a click away when you want to watch them... 86.176.212.196 (talk) 21:34, 20 February 2012 (UTC)

 * One of the rods switches from in front on the left to behind on the right.Sapiens scriptor (talk) 08:15, 14 May 2013 (UTC)

Mathematical Explanation
I have added a mathematical modell which explains the stability of tensegrity figures as a simple geometric constraint — no prestress is needed here. The modell is particularly simple in the case of the tensegrity icosahedron in view of cubic symmetries, and it does away with the popular misconception, that the tensegrity icosahedron is a regular icosahedron. I believe that variants of this model determine other stable structures as extremal points of quadratic forms, so stable structures should usually have infinitesimal mobility.

I don't know who first came up with this model — I have seen it some twenty years ago and reconstructed it from memory. Martin Roller (talk) 21:08, 30 March 2013 (UTC)

 * Thank you. Please also provide a source or citation. Rlsheehan (talk) 21:25, 30 March 2013 (UTC)

 * The explanation had been removed by Yworo. I can't reply on his talk page, so I do it here. As I said before, I can't yet provide the actual source of the explanation, but I can give you a citation. As a mathematical argument, I consider it complete and self contained, so it doesn't need any further validation. Martin Roller (talk) 10:43, 2 April 2013 (UTC)

 * I added another citation Rlsheehan (talk) 01:39, 3 April 2013 (UTC)

 * Yes, that appears to be a good survey. I would prefer to regard that as a general reference (under Bibliography), rather than a citation for this section. The point of this section is that the argument is short and self contained, and it gives you just a glimpse of the dozend or so theories (form finding methods in the survey). Martin Roller (talk) 15:33, 3 April 2013 (UTC)

Physics explanation
I don't think this section has enough relevancy to tensegrity. The notion of jumpulse defined in the cited paper is a generic physical definition in Newtonian dynamics. It does not explain any property specific to tensegrity structures. Martin Roller (talk) 13:07, 6 April 2013 (UTC)
 * Agree. This article is about a structure. Rlsheehan (talk) 15:46, 6 April 2013 (UTC)

Misleading use of 'parallel' in the mathematical explanation
When I tried to visualize the figure described in the mathematical explanation from scratch, I was terribly misled by the use of the word 'parallel'. Here the edge of the cube and the strut are not in the same plane and hence not 'parallel' in the true sense. I was imagining the strut on the face itself so that it would be parallel to the edge and also intersect the centre of the face of the cube, but that gives rise to a very confusing mental picture when you keep reading further. I suggest describing it better, or using different terms. Tushar Shrotriya (talk) 05:10, 25 October 2013 (UTC)

Parallel view autostereograms missing
The cross-eye and the parallel view autostereograms are in both instances exactly the same image. The parallel ones should either be supplemented or deleted alltogether.--93.203.48.95 (talk) 10:43, 5 November 2013 (UTC)

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Buckminster Fuller controversy
20 years ago I knew a brilliant girl, (Eva, from Montréal) who was HARDCORE into M.C. Escher, optical illusions, patterns, deep math, and Buckminster Fuller. She taught me brief overviews on these and introduced me to tensegrity. She explained that Bucky was showman popularist who accepted accolades yet didn't invent the geodesic dome or tensegrity, nor properly credit those who did. She was a bit bitter about this but still loved Bucky, including his "faults", at least as reported by some (I don't know what biographies or math history books she gleened this from). I'd like to see this mentioned in more detail in the "tensegrity" and "Bucky Fuller" articles. ~  JasonCarswell   (talk)   05:38, 21 August 2018 (UTC)

External links & Further reading maintenance
On 2018-11-10T11:46:24 User:Jim1138 removed most of these external links. I doubt they're all spam and some might be good for citations and/or additional content.

 * "Tensegrity" Scholarpedia article
 * Point, contrepoint. French tensegrity, art and design.
 * Scientific Publications in the Field of Tensegrity by Swiss Federal Institute of Technology (EPFL), Applied Computing and Mechanics Laboratory (IMAC)
 * Valentin Gomez-Jauregui's site A web page (in English and Spanish) showing images, references and explanations about tensegrity.
 * Kenneth Snelson's site with an article on the theory and development of tensegrity as well as pictures of his sculptures from desktop pieces to 90-foot towers.
 * Kirby Urner's page on Kenneth Snelson, developed in collaboration with the artist before the above official site came on-line, still relevant.
 * Dubai Tensegrity Tower designed by Aurel von Richthofen includes diagrams of proposed tower with elevator.
 * Ortegrity by Timothy Wilken, MD 2002, 70-page-long PDF document describing human interactions in terms of tensegrity.
 * Tensegrity in a Cell—This interactive feature allows you to control a cell's internal structural elements. From Donald Ingber and the research department of Children's Hospital Boston.
 * Stephen Levin's Biotensegrity site Several papers on the tensegrity mechanics of biologic structures from viruses to vertebrates by an Orthopedic Surgeon.
 * The Dynamic Template site that demonstrates how spatially organised flows of aminophospholipids in the red blood cell membrane convert the cell surface into a "Dynamic Template" for its cortical Spectrin cytoskeleton. This is the only model to date that provides biological cells with a mechanism capable of pre-stressing flexible, membrane-associated protein networks, which is absent from Glanz & Ingbers' exclusively protein-based models of cellular "tensegrity" structures.
 * Tensegrity examples Several tensegrity examples by Marcelo Pars.
 * Sine Utilitate Examples of contemporary sculptural constructions by Christos Saccopoulos using tensegrity principles.
 * Virtual 3D tensegrity structures Interactive visualisations, structures can be viewed in virtual reality devices like Google Daydream, Samsung Gear VR.

Also, under the "Further reading" list is a maintenance template warning: "This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (March 2009)"

I can't sift through them now, but I'm highlighting them should anyone wish to delve. ~  JasonCarswell   (talk)   18:25, 23 November 2018 (UTC)

Tensegral
We can find the word tensegral in articles about biotensegrity. What means 'tensegral'?Sylveno (talk) 06:29, 29 December 2022 (UTC)

"delineate the system spatially"
Is it just me, or is the above phrase at the end of the introductory paragraph utterly meaningless? Dtaylor1984 (talk) 14:12, 12 April 2023 (UTC)

Add new applications of tensegrity in synthetic materials science.
Below I add a couple of new applications of Tensegrity inspired materials in the Applications section. I am an author in one of these applications. I invite other users to add more examples of recent advances in the materials science field.

The concept of tensegrity has also seen recent research advances in synthetic materials applications such as textile metamaterials and composites.
 * What I think should be changed:

I feel that pointing readers towards synthetic materials research, unlike naturally formed biological materials, is a noteworthy contribution.
 * Why it should be changed:

Included in the text above.
 * References supporting the possible change (format using the "cite" button):

Shredderwoods (talk) 17:40, 15 September 2023 (UTC)

Reply 16-SEP-2023
Regards, Spintendo  22:02, 16 September 2023 (UTC)
 * 1) Your request cannot be reviewed because the page numbers from the proposed sources have not been provided.
 * 2) Please provide the page numbers from the source material where the proposed information is confirmed.

title: Talk:Tensegrity


text:
Judgment Night (The Twilight Zone)

"Judgment Night" is the tenth episode of the American television anthology series The Twilight Zone. In this episode, a passenger aboard a British cargo liner has no memory of how he came aboard, and is tormented by unexpected clues to his true identity and a sense that the ship is headed toward impending doom.

Opening narration
Her name is the SS Queen of Glasgow. Her registry: British. Gross tonnage: five thousand. Age: Indeterminate. At this moment she's one day out of Liverpool, her destination New York. Duly recorded on the ship's log is the sailing time, course to destination, weather conditions, temperature, longitude and latitude. But what is never recorded in a log is the fear that washes over a deck like fog and ocean spray. Fear like the throbbing strokes of engine pistons, each like a heartbeat, parceling out every hour into breathless minutes of watching, waiting and dreading... For the year is 1942, and this particular ship has lost its convoy. It travels alone like an aged blind thing groping through the unfriendly dark, stalked by unseen periscopes of steel killers. Yes, the Queen of Glasgow is a frightened ship, and she carries with her a premonition of death.

Plot
Carl Lanser is a passenger aboard the SS Queen of Glasgow, an isolated British cargo liner crossing the Atlantic in 1942, but has no idea of how he got aboard or who he is. Sitting with the captain and several passengers, Lanser dismisses fears of the ship being hunted by a U-boat "wolfpack", saying only one U-boat would be necessary and it would not bother using a torpedo on the ship. He is unable to explain how he knows any of this and recalls only that he was born in Frankfurt, but says that he finds the ship, its crew and passengers oddly familiar. When called to the bridge by the captain he cannot provide proof of his identity. Still confused, Lanser is sent back to his cabin with a steward, where he finds a Kriegsmarine officer's cap among his possessions with his name written on the inside.

The captain is forced to stop the ship for repairs when the overworked engines break down at 12:05. Lanser becomes increasingly restless, haunted by an inescapable sense of impending doom. Convinced that everyone aboard the ship will die at 1:15, Lanser panics and runs through the passageways, attempting to raise an alarm. He finds the ship is mysteriously empty. When he finally locates some of the passengers, they silently stare at him as he implores them to abandon ship. At exactly 1:15, a searchlight illuminates the ship, and a surfaced U-boat, commanded by Kapitänleutnant Carl Lanser, opens fire with its deck cannon and machine guns. The ship quickly sinks, leaving no survivors.

Some time later, Captain Lanser is in his cabin aboard his U-boat, recording that night's kill. His second-in-command, Lt. Mueller, is deeply troubled by what the crew of the boat has done, not warning the people on board the ship before firing upon them, and wonders "if we are not all damned now". Lanser dismissively says he is sure the British Admiralty thinks so, but Mueller clarifies that he meant damned in the eyes of God. Despite Lanser's skepticism and sarcasm, Mueller grows more convinced that the crew of the U-boat may one day answer for their crime by reliving the act for all eternity.

Granted his own private hell as the man who ordered the massacre, the former U-boat commander re-materializes on the deck of the ship and the nightmare begins again.

Closing narration
The SS Queen of Glasgow, heading for New York, and the time is 1942. For one man it is always 1942—and this man will ride the ghost ship every night for eternity. This is what is meant by paying the fiddler. This is the comeuppance awaiting every man when the ledger of his life is opened and examined, the tally made, and then the reward or the penalty paid. And in the case of Carl Lanser, former Kapitan Lieutenant, Navy of the Third Reich, this is the penalty. This is the justice meted out. This is judgment night in the Twilight Zone.

Production
In the first 18 episodes, Serling only had one minor conflict with CBS regarding episode content. In an interview with Mike Wallace on September 22, 1959, Serling said, "We changed, in eighteen scripts, Mike, we have had one line changed, which, again, was a little ludicrous but of insufficient basic concern within the context of the story, not to put up a fight. On a bridge of a British ship, a sailor calls down to the galley and asks in my script for a pot of tea, because I believe that it's constitutionally acceptable in the British Navy to drink tea. One of my sponsors happens to sell instant coffee (Sanka), and he took great umbrage, or at least minor umbrage anyway, with the idea of saying tea. Well, we had a couple of swings back and forth, nothing serious, and we decided we'd ask for a tray to be sent up to the bridge. But in eighteen scripts, that's the only conflict we've had."

Short story adaptation
The episode was adapted into a short story (by Walter B. Gibson) in the 1963 collection Rod Serling's Twilight Zone. The short story reveals how Lanser died, showing that his U-boat was sunk by a British destroyer after a crewman on the Queen of Glasgow radioed for assistance. It also adds a final scene, set 20 years after the episode, in which Barbara Stanley (revealed to have survived the sinking of the Queen of Glasgow by boarding a lifeboat) sees the ghosts of Karl Lanser and Lt. Mueller. Mueller does not share in Lanser's punishment but is doomed to witness it over and over for eternity.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Judgment Night (The Twilight Zone)


text:
And When the Sky Was Opened

"And When the Sky Was Opened" is the eleventh episode of the American television anthology series The Twilight Zone. It originally aired on December 11, 1959. It is an adaptation of the 1953 Richard Matheson short story "Disappearing Act."

Opening narration
Her name: X-20. Her type: an experimental interceptor. Recent history: a crash landing in the Mojave Desert after a thirty-one hour flight nine hundred miles into space. Incidental data: the ship, with the men who flew her, disappeared from the radar screen for twenty-four hours.

The narration continues after Forbes' introduction.

But the shrouds that cover mysteries are not always made out of a tarpaulin, as this man will soon find out on the other side of a hospital door.

Plot
USAF Lieutenant Colonel Clegg Forbes arrives at a military hospital to visit his friend and co-pilot Major William Gart. The two had recently piloted an experimental spaceplane, the X-20. During their voyage the craft disappeared from radar screens for a full day before reappearing and crash landing in the desert, leaving Gart with a broken leg. Forbes is agitated and asks Gart if he remembers how many people were on the mission. Gart confirms that only he and Forbes piloted the plane, but Forbes insists that a third man – Colonel Ed Harrington, his best friend for 15 years – accompanied them.

In a flashback, Harrington and Forbes are discharged from the hospital after passing their physical exams and visit a bar downtown. While there, Harrington is suddenly overcome by a feeling that he no longer "belongs" in the world. Disturbed, he phones his parents, who tell him they have no son named Ed and believe the person calling them is a prankster. Harrington then mysteriously vanishes from the phone booth and no one but Forbes remembers his existence. Increasingly desperate, Forbes fruitlessly searches for any trace of his friend.

Back in the present, Forbes finishes recounting the story to Gart and is dismayed by his friend's claim that he doesn't know anyone named Harrington. Forbes then glances at a mirror and discovers he casts no reflection, causing him to flee the room in terror. Gart tries to hobble after him only to find that Forbes has disappeared. Calling the duty nurse to ask if she saw where Forbes went, Gart is stunned by the nurse's claim that nobody named Forbes has been in the building and that Gart was the only man who was in the hospital room. Horrified, Gart also disappears.

An officer enters the building and asks the duty nurse if there are any unused rooms available to accommodate new patients. The nurse takes him to the now completely empty room which hosted the three astronauts, telling him that it has been unoccupied. The hangar which previously housed the X-20 is then shown, with the sheet that covered the craft lying on the ground. There is no trace of the plane, as if it and its crew never existed.

Closing narration
Once upon a time, there was a man named Harrington, a man named Forbes, a man named Gart. They used to exist, but don't any longer. Someone – or something – took them somewhere. At least they are no longer a part of the memory of man. And as to the X-20 supposed to be housed here in this hangar, this, too, does not exist. And if any of you have any questions concerning an aircraft and three men who flew her, speak softly of them – and only in – The Twilight Zone.

Episode notes
This episode is loosely based on the short story "Disappearing Act" by Richard Matheson. The story was first published in The Magazine of Fantasy and Science Fiction (March 1953).

Rod Taylor and director Douglas Heyes later worked together on the TV series Bearcats!

Toward the end of the episode, Rod Taylor's character, Clegg Forbes, panics when he appears to cast no reflection when looking at a mirror in the hospital room. Due to what appears to be a production error in crafting this illusion, Taylor's right elbow is, in fact, visible in the mirror throughout the duration of this shot, with three fingers of Taylor's right hand appearing in the mirror as well when Taylor raises his hands in horror.

title: And When the Sky Was Opened


text:
What You Need (The Twilight Zone)

"What You Need" is the twelfth episode of the American television anthology series The Twilight Zone, airing on Christmas Day, 1959. It is based on the short story of the same name by Lewis Padgett (Henry Kuttner and C. L. Moore), which was published in the October 1945 issue of Astounding Science Fiction magazine.

Opening narration
You're looking at Mr. Fred Renard, who carries on his shoulder a chip the size of the national debt. This is a sour man, a friendless man, a lonely man, a grasping, compulsive, nervous man. This is a man who has lived thirty-six undistinguished, meaningless, pointless, failure-laden years and who at this moment looks for an escape—any escape, any way, anything, anybody—to get out of the rut. And this little old man is just what Mr. Renard is waiting for.

Plot
A peddler named Pedott carries a case of items from which he can give people what they need before they need it. Entering a bar, he gives a woman a vial of cleaning fluid and an impoverished ex-baseball player a bus ticket to Scranton, Pennsylvania. Moments later, the latter receives a phone call over the payphone inviting him to accept a coaching position for a team in Scranton. After noticing a spot on his jacket that he wishes to remove before heading there, the woman with the cleaning fluid helps him and the pair become attracted to each other.

Spying what happened, a frustrated, arrogant, and unsuccessful man named Fred Renard asks Pedott to give him what he needs and receives a pair of scissors. Renard soon uses them to cut himself free after his scarf gets caught in a set of elevator doors. When he again demands something he needs from Pedott, he receives a leaky fountain pen, which predicts a winning racehorse after its last drop of ink falls on a newspaper racing column.

Unable to use the pen to predict any further winners, Renard angrily confronts Pedott, who reveals that he only provides items that people need to use once and that he cannot supply things such as serenity and peace of mind. Renard demands Pedott provide him another thing he needs, causing the latter to nervously glance at his case. Assuming the glance has indicated what he needs, Renard seizes a pair of shoes from the case and puts them on, only to find that they are too tight and have slippery soles. When Pedott says that they are actually what he needs, Renard advances on him, but slips on wet pavement and is struck and killed by a passing car. Pedott then reveals he had foreseen his own death and allowed Renard to steal the shoes to prevent it. As he leaves, he gives a comb to a man, who uses it to neaten his hair before he and his wife are photographed for a news story on the accident.

Closing narration
Street scene, night. Traffic accident. Victim named Fred Renard, gentleman with a sour face to whom contentment came with difficulty. Fred Renard, who took all that was needed—in The Twilight Zone.

Production information
The original story featured a machine that could foretell an individual's probable future. In the story, the man owns a shop where he has such a machine and then gives people what they need to provide the best possible outcomes; also, the Renard character is killed not by a car but by falling off a subway platform while a train is coming into the station. This version of the story aired on a 1952 episode of the anthology series Tales of Tomorrow, changing the death of the Renard character from a fall to being hit by a car. For his version, Serling replaced the science-fiction element with a street peddler who could magically perform the same function.

The final shot before the first commercial (while Serling is concluding his narration) is actually played backwards; looking carefully, one can see smoke returning to Renard's cigarette.

During the scene in Mr. Renard's hotel room, a bellhop brings him a newspaper. Renard then opens it and spreads it out on the floor. The movement is quick, but the front page of the newspaper is visible, indicating that it is the same front page used in another Twilight Zone episode, "Time Enough at Last". The headline reads "H-Bomb Capable of Total Destruction". Once Renard opens the paper and looks at the racing page, several in-jokes or Easter eggs are apparent in the names of the listed jockeys, which include "Serling", "Clemens" (referencing director of photography George Clemens), "Houghton" (referencing producer Buck Houghton), "Butler" (referencing set decorator Rudy Butler), and "Denault" (referencing assistant director Edward Denault).

title: What You Need (The Twilight Zone)


text:
The Four of Us Are Dying

"The Four of Us Are Dying" is the thirteenth episode of the American television anthology series The Twilight Zone. It originally aired on CBS on January 1, 1960. The episode was based on the original short story by George Clayton Johnson, "All of Us Are Dying", which had not been published at the time. The story subsequently appeared in the October 1961 issue of Rogue''.

Opening narration
His name is Arch Hammer, he's 36 years old. He's been a salesman, a dispatcher, a truck driver, a con man, a bookie, and a part-time bartender. This is a cheap man, a nickel-and-dime man, with a cheapness that goes past the suit and the shirt; a cheapness of mind, a cheapness of taste, a tawdry little shine on the seat of his conscience, and a dark-room squint at a world whose sunlight has never gotten through to him. But Mr. Hammer has a talent, discovered at a very early age. This much he does have. He can make his face change. He can twitch a muscle, move a jaw, concentrate on the cast of his eyes, and he can change his face. He can change it into anything he wants. Mr. Archie Hammer, jack-of-all-trades, has just checked in at three-eighty a night, with two bags, some newspaper clippings, a most odd talent, and a master plan to destroy some lives.

Plot
Arch Hammer is a con man who can change his face to look like anyone he chooses. He walks into a nightclub, where he impersonates deceased trumpeter Johnny Foster to steal Foster's grieving girlfriend Maggie, a sultry singer.

Next, while impersonating murdered gangster Virgil Sterig, Hammer pays a visit to Mr. Pennell, to extort money; Pennell is the man who had Sterig killed. Pennell sends his men after Hammer.

Trying to escape down an alley, Hammer sees a poster of boxer Andy Marshak, and changes his face to the fighter's. Pennell's men are fooled. Thinking he is in the clear, he runs into Marshak's father at a street newsstand, who mistakes him for the son who broke his mother's heart and "did dirt to a sweet decent little girl who would've cut off an arm for" him. As Mr. Marshak reels off the reasons why he hates Andy and his punk behavior, Hammer pushes the old man out of the way and returns to his hotel room. A detective comes by to pick him up for questioning; together, they leave for the police station. As they enter the hotel's revolving door, Hammer again assumes the boxer's appearance. The detective rushes back into the building to find Hammer.

Marshak's father is standing on the street, with a gun on Hammer. The con man tries to demonstrate that he is not who the old man thinks he is, but before he can concentrate and change his face, Mr. Marshak shoots him. As Hammer lies dying, his face shifts from one person to another until he dies wearing his own face.

Closing narration
He was Arch Hammer, a cheap little man who just checked in. He was Johnny Foster, who played a trumpet and was loved beyond words. He was Virgil Sterig, with money in his pocket. He was Andy Marshak, who got some of his agony back on a sidewalk in front of a cheap hotel. Hammer, Foster, Sterig, Marshak—and all four of them were dying.

Style
This episode is notable for its heightened, theatrical lighting, blocking and set design. While most episodes are presented in a very theatrical manner (with limited locations, heightened dialogue and theatrical blocking) not many episodes present themselves as if the action took place on a stage. This theatricality is especially present in its use of harsh shadows and in the neon-signage that hangs above the set to represent Manhattan. One very clear example of this would be when Arch Hammer exits the jazz bar where a bold lighting change indicates that he has put Maggie and the events at the club out of his mind and now seeks his next target. The cinematography is also unusually elaborate and quite cinematic. Extreme, low, wide canted angles drift languidly folly Arch through the streets, symbolising how sleazy and careless his world is. POV shots zipping down from one elevator button to another. A birds-eye view watches him scramble out of an elevator. The camera swirls in smooth reverence around Maggie as she sings her lament. The jazz score is incessant and adds a distinct, coherent rhythm to the episode.

Production
"After the first half-dozen stories had been written, part of the hustle was getting an agent. Through those years I found several who would let me use their names, though few cared to sign a contract with me. One of these men, Jay Richards - at the time head of the television department of the Famous Artists Agency, long since absorbed by I.F.A. (International Famous Agency), and since embedded in I.C.M. (International Creative Management), which represents me now in television and movies - agreed to read something. I showed Jay 'All of Us Are Dying.' After reading it, he crossed out the title with a ballpoint pen and wrote in 'Rubberface!' Then he sent it to Rod Serling, who had a new series that season called The Twilight Zone." — George Clayton Johnson, writing in the August 1981 issue of The Twilight Zone Magazine

In 2005, "The Four of Us Are Dying" was produced for the stage by 4 Letter Entertainment.

title: The Four of Us Are Dying


text:
Third from the Sun

"Third from the Sun" is the fourteenth episode of the American television anthology series The Twilight Zone. It is based on a short story of the same name by Richard Matheson which first appeared in the first issue of the magazine Galaxy Science Fiction in October 1950.

Opening narration
Quitting time at the plant. Time for supper now. Time for families. Time for a cool drink on a porch. Time for the quiet rustle of leaf-laden trees that screen out the Moon. And underneath it all, behind the eyes of the men, hanging invisible over the summer night, is a horror without words. For this is the stillness before storm. This is the eve of the end.

Plot
Will Sturka, a scientist who works at a military base, has been producing a great number of H-bombs alongside other staff members who are manufacturing various devastating weapons in preparation for imminent nuclear war. Sturka realizes that there is only one way to escape—steal an experimental, top-secret spacecraft stored at another base up north. He plans to bring his friend Jerry Riden, who is trained as a pilot of the spacecraft, along with their wives and Sturka's daughter Jody. The two plot for months, secretly supplying the ship and making arrangements for their departure. One afternoon, Sturka engages in conversation with a co-worker, Carling, who gleefully tells him that he's heard a rumor the war will start in 48 hours. When Sturka voices his disgust at the potential holocaust, Carling is dismayed and cautions him, saying Sturka should watch what he says, and what he thinks.

At home, Sturka confides in his family, trying to assuage his guilt over helping to create weapons by rationalizing he's only one part in a much larger machine though he recognizes that he still maintains partial responsibility. His daughter comments that there's a terrible feeling in the air, that something dreadful is coming and that everyone can feel it. Sturka realizes that time is running out.

Sturka and Riden decide to put their plan in action—take their families to the site where the spacecraft is held, getting in with help from their contact working at the site whom Riden has bribed and take off in the ship, leaving the planet for good. Carling, suspicious of Sturka since their chat, eavesdrops on them at Sturka's house and overhears their plan. Later that night, everyone gathers for a game of cards where Riden reveals that while he was test flying the spacecraft, the military had discovered a small planet 11 million miles away with a civilization similar to theirs—the perfect place to escape. During the game, Carling unexpectedly appears at the door and hints that he knows what the group is plotting. He also hints at trouble: "A lot can happen in forty-eight hours." After Carling leaves, Sturka receives a call from his superiors, commanding him to return to the base. He and Riden inform the women that they must leave that very moment.

When the five arrive at the site of the spacecraft, Sturka and Riden spot their contact, who flashes a light. When the contact steps forward, he is revealed to be Carling, armed with a gun. He forces Sturka and Riden away from the gate and prepares to call the authorities. The women, who have been waiting in the car, watch as Carling orders them out. Jody suddenly throws the car's door open, knocking the gun from Carling's hand and giving the men enough time to overpower him and knock him out. The group rushes into the ship, fighting off the guards that chase after them.

Later that evening, the group has safely escaped their doomed planet and are on course. Sturka says it's hard to believe there are people living on the alien world where they're headed. Riden points out on the ship's viewer their mysterious destination, 11 million miles away—the third planet from the Sun, called "Earth".

Closing narration
Behind a tiny ship heading into space is a doomed planet on the verge of suicide. Ahead lies a place called Earth, the third planet from the Sun. And for William Sturka and the men and women with him, it's the eve of the beginning—in the Twilight Zone.

Reception
Emily Van Der Werff of The A.V. Club rated it A and called the twist "justifiably famous".

title: Third from the Sun


text:
Cargo airline (disambiguation)

Cargo airlines are airlines dedicated to the transport of cargo.

Cargo airlines may also refer to:

 * CAL Cargo Air Lines, Israel

title: Cargo airline (disambiguation)


text:
Mohenjo Daro (film)

Mohenjo Daro is a 2016 Indian Hindi-language period action-adventure film written and directed by Ashutosh Gowariker. It was produced by Siddharth Roy Kapur for UTV Motion Pictures and The Walt Disney Company India and Sunita Gowariker for Ashutosh Gowariker Productions (AGPPL), and stars Hrithik Roshan and Pooja Hegde. It is based on the ancient Indus Valley civilization, and is set in the city of Mohenjo-daro, a UNESCO World Heritage Site. This film marked Pooja Hegde's debut in Hindi cinema.

Set in 2016 BCE at the height of Indus Valley Civilization, the story follows a farmer Sarman (Hrithik Roshan), who travels to the city of Mohenjo Daro and falls in love with a high-status woman (Pooja Hegde), and who must then challenge the city's elite, and fight against overwhelming odds to save their civilization. Gowariker took over three years to research and develop the script, working closely with archaeologists to ensure authenticity in the representation of his fictional story. The film was shot in Bhuj and Mumbai with brief schedules in Bhedaghat (Jabalpur) and Thane.

The score and soundtrack are composed by A. R. Rahman with lyrics penned by Javed Akhtar. The film was released worldwide on 12 August 2016. The film received mixed reviews and grossed inr 1078000000 to rank as one of the highest-grossing Hindi films of 2016.

Mohenjo Daro marks the last film production of UTV Motion Pictures, as two Disney releases, Dangal and Jagga Jasoos, became producer Kapur's final projects under the Disney·UTV brand before his contract with the company lapsed on 1 January 2017; the non-Hindi versions of both films were nonetheless presented by the banner, while Jagga Jasoos faced delays before its release in mid-July 2017.

Plot
The film opens in 2016 BCE with Sarman (Hrithik Roshan), a young man from the village of Amri, who lost his parents at a young age. Sarman kills a crocodile that has been terrorizing his village's fishermen and is hailed as a hero. He asks his uncle, Durjan (Nitish Bharadwaj), to allow him to go to Mohenjo Daro to trade their family's goods, but his uncle refuses. Sarman attempts to sneak away to the city at night with his friend Hojo (Umang Vyas), but is caught by Durjan, who relents and allows both friends to go. He gives Sarman a seal that contains an inscription of a unicorn that Sarman often sees in his dreams, suggesting he use it only once in a life or death situation.

Arriving in Mohenjo Daro, Sarman learns that the city is ruled by the tyrannical Senate Chief Maham (Kabir Bedi) and his wicked son Moonja (Arunoday Singh). He also learns that the unicorn he sees in his dreams is the symbol of the city, and feels as if the city is oddly familiar to him. While Sarman is trading, Maham proposes to impose an additional tax on the farmers so that the city may grow, but Sarman leads the farmers to oppose the taxes so that their families don't starve to death. Sarman gains access to the upper city by showing his uncle's amulet and meets Chaani (Pooja Hegde), the daughter of the head priest (Manish Choudhary) of Mohenjo Daro. Sarman is enchanted by Chaani's beauty and charm and falls in love with her. Upon meeting, the head priest strangely appears to recognize Sarman. Chaani reveals that she has been forcibly betrothed to Moonja. Maham discovers Sarman and Chaani love each other and that Sarman is the leader of the tax revolt, and so he challenges Sarman to fight Bakar and Zokar, his two champions. Sarman proposes that if he wins, Chaani will be released from her engagement, and Maham accepts the terms.

On the night before Sarman's clash with Bakar and Zokar, the head priest reveals to him how Maham was expelled from Harappa for illegal trade with the Sumerians. Maham entered Mohenjo Daro as a trader and quickly rose to become the trade chief. Maham had discovered that the mighty Sindhu River held vast gold deposits, so he decided to place a dam on the river and divert its course to mine the gold. The wise Senate Chief Srujan (Sharad Kelkar), who is revealed to be Sarman's father, opposed this, but Maham won the vote to build the dam. He had Srujan framed and arrested for hoarding gold. Chaani's father and Durjan – Sarman's uncle – were coerced by Maham to betray Srujan, and the latter was killed. Maham then took Srujan's place as the new Senate Chief.

In the arena outside the city, Sarman faces the ferocious Tajik mountain cannibals Bakar and Zokhar. After a vicious battle, he kills one of the cannibals but spares the other, and the people of Mohenjo Daro surge even stronger behind him. Enraged, Maham urges Moonja to finish off Chaani and the priest. Moonja kills the priest, but Sarman saves Chaani and kills Moonja.

Sarman exposes Maham's plan to use the gold from the Sindhu to enrich himself and to smuggle in weapons from the Sumerians. All the chiefs now stand against Maham. The people elect Sarman as the new chief, but Sarman suggests Mohenjo Daro needs a people's government, not a chief. With the arrival of a heavy thunderstorm, Sarman realizes that the dam will burst and the Sindhu River will flood the city. He rallies the people to lash boats together and form a floating bridge. They evacuate Mohenjo Daro and cross to the other side of the river. The dam collapses, and Maham, chained in the city square, is drowned as the city is destroyed. The survivors migrate to another river, where Sarman sees the unicorn of his dreams and names the river Ganga.

Cast

 * Hrithik Roshan as Sarman, Chaani's love interest
 * Pooja Hegde as Chaani, the Priest's daughter and Sarman's love interest
 * Kabir Bedi as Maham Ramani, the Senate chief
 * Arunoday Singh as Moonja, Maham's son
 * Suhasini Mulay as Laashi, Maham's wife
 * Nitish Bharadwaj as Durjan, Sarman's uncle
 * Kishori Shahane as Bima, Sarman's aunt
 * Manish Choudhary as the Priest, Chaani's father
 * Narendra Jha as Jakhiro, the mad man and a former member of Srujan's council
 * Shaji Chaudhary as Kulka
 * Tufail Khan Rigoo as Ishme Dagan, the Sumerian
 * Diganta Hazarika as Lothar, The Guard
 * Naina Trivedi as Junu, Chaani's friend
 * Shyraa Roy as Mohini
 * Umang Vyas as Hojo, Sarman's friend
 * Casey Frank as Bakar
 * Mike Homik as Zokar

Cameo appearances
 * Sharad Kelkar as Srujan, Sarman's late father
 * Jividha Sharma as Rami, Sarman's late mother

Development
Director Ashutosh Gowariker was first inspired to make a film set in the ancient Indus Valley civilization when he was in Bhuj, Gujarat, scouting locations for his then-upcoming Lagaan (2001), and stumbled across the massive excavations in progress at the ruins of Dholavira: "I thought, My God!  This is incredible!  What happened to this civilization, who were the people, how did they live?"

Several other films projects later, Gowariker announced the film Mohenjo Daro officially in February 2014 with A. R. Rahman composing the film score.

On taking up the project, in an interview, Gowariker stated that there was meagre and superficial information available about the people in that civilisation, particularly about their lifestyle, food, and feelings. The lack of information about the period troubled Gowariker, and he decided that whenever he would get a story to tell, it will be depicted circa 2500 BC at Mohenjo-daro which, despite being the largest city yet discovered from that ancient civilization, is today known only by the name—which translates as "Mound of the Dead" in English—ascribed by the Sindhi locals to the site when its ruins were discovered in 1922. "Mohenjo Daro" is not only the official name associated with that ancient city by the United Nations (as a World Heritage Site since 1980), but also the only name associated with it by archaeologists and historians around the world, as well as the general public. Thus, regardless of the literal translation of the words, "Mohenjo Daro" was the only possible title for an audience to identify with the actual reference point despite the fact that the city could have not been so named in ancient times.

On the film's plot, he was quoted as saying, "While the plot will follow Mohenjo-daro and the culture and the vibe of the ancient civilization, it will largely centre on a love story." It took Gowariker three years to piece together a plot of the entire civilisation through various cities and weave a love story into it.

The challenges of adapting for cinema a story based on one of the greatest ancient civilisations of the world whose written language has not yet been deciphered have proved unique. Because modern science can not yet read anything the Indus Valley peoples wrote about themselves, any aspect about their civilization has to be conjectured from what relics survive to discovery by archaeologists working at their various ruins. As The Indian Express pointed out, "whatever we do know about Mohenjo-daro is perhaps as much an imagination of the historian as that of a filmmaker who depicts it in visual terms."

During Ashutosh Gowariker's research, he met as many as seven archaeologists who are closely involved in excavating sites and studying the Indus Valley Civilization. After much reading of published archaeological reports on his own, he brought in the American archaeologist Jonathan Mark Kenoyer of the University of Wisconsin–Madison, considered one of the world's leading experts on the ancient Indus Valley civilization, who had worked at the ruins of Mohenjo-Daro over 35 years. He brought together Kenoyer to round-table with five other expert archaeologists who have also been working on this topic for many years—P. Ajit Prasad, V. N. Prabakhar, K. Krishnan, Vasant Shinde, and R. S. Bisht, "who are all from the Archaeological Survey of India, Maharaja Sayajirao University of Baroda and other institutions, all with expertise in different aspects of the same civilization." Gowariker had also personally revisited the archaeological dig at Dholavira in Gujarat.

Kenoyer later visited Bhuj to inspect and approve the sets and props built by the filmmakers.

The symbol ultimately selected for the film Mohenjo Daro recalls one of the earliest discovered artifacts from the initial archaeological excavations at the ruins of the ancient city itself: 'Another [seal] shows six animal heads—"unicorn", bison, antelope, tiger, the remaining two broken—radiating from a ring, and recalling a whorl on another seal from the same site with a single "unicorn" and five featureless lobes', the "unicorn" being one of the 'most frequently represented' animals portrayed among the 'over 1,200 of them [seals] [which] have been found at Mohenjo-daro alone'. The filmmaker has chosen to identify the "unicorn" with his central character.

The broadest artistic license required in bringing the Indus Valley civilization to the cinema, inevitably, would be costuming. Because although "undisputed traces of cotton cloth have survived at Mohenjo-Daro" and the Indus culture is believed by archaeologists to have pioneered the cultivation of cotton for clothmaking in the ancient world, no actual samples of finished clothing or other organic matter have survived over these four thousand years, due to the "damp alkalkine soil" prevailing at the Indus sites. Thus, the only reference material is the relative handful (compared with the broad abundance of seals found, or commercial items such as weights and measures) of terracotta humanoid figurines or small stone statues found at various excavations, which are mostly only partially intact and of mostly unknown purpose—but male or female, are mostly naked. Some of the female figures, for instance, wear elaborate headdresses and jewellery but little else. Explained the director in an interview, "I cannot make a movie with so much nudity, obviously. So I had to create and imagine a costume which will be away from all the different styles that we have seen in other movies, and yet be special for this civilization."

With the film being set in a certain period, the whole site had to be recreated in a film studio. He was involved in working out the logistics during June 2014. The film's stunts were choreographed by Glenn Boswell and the costumes were designed by April Ferry and Neeta Lulla. U.K. based trainer Joshua Kyle Baker was roped in to train Roshan for his character in the film. He described the three-month training so as to allow Roshan to appear 'lithe' and 'agile' rather than muscular. Relating the natural environment required for Mohenjo Daro, Gowariker was impressed with the calamitous VFX seen in the films The Day After Tomorrow and 10,000 BC that were designed by Karen Goulekas. In September 2014, as a visual effects supervisor, Goulekas was brought on board for the film. Gowariker revisited Bhuj in December 2014 to begin production.

Casting
In August 2014, Hrithik Roshan, who had starred in Ashutosh Gowariker's critically and commercially successful Jodhaa Akbar in 2008, was confirmed to play the male lead role again for Mohenjo Daro. He reportedly demanded inr 500000000. Said the director, "I wouldn't have made the film, without Hrithik." "[T]his is a different world, and I thought only Hrithik would blend in perfectly."

Telugu and Tamil cinema actress Pooja Hegde was signed as the female lead, and makes her Hindi film debut with Mohenjo Daro. "While scripting the film, I was thinking that I needed someone with innocence and someone who did not have stardom baggage [to be received by the audience only as this character]. I thus began looking for a fresh face when Sunita (Gowariker) spotted Pooja in a commercial and suggested that we call her. She called Pooja and I auditioned her. And that was it!"

Veteran actor Kabir Bedi was signed as the primary villain, backed by Arunoday Singh as the younger villain.

For supporting roles, casting director, Nalini Rathnam wanted to bring in newer and fresh faces, even from non-Hindi speaking regions. As the director explained this process, "All kinds of actors, including seasoned actors, never get a chance to come to Mumbai or they don't want to as they are happy in their own space. So there is a different kind of freshness there to get them on board. I did this in Lagaan and Jodhaa Akbar. In this film too, I wanted to get some fresh actors, so I have Diganta Hazarika, who is a well-known Assamese actor. It is a time-consuming process but the payoff big."

Since action, as well as romance, were key to his story, perfectionist director Ashutosh Gowariker went to great lengths in casting to ensure his vision reaches the screen. For example, for one specific action sequence, the director auditioned nearly 300 candidates before finally casting the two giant barbarian fighters who are more than 7 feet tall, in order to make the sequence thrilling and visually appealing when presented to the audience opposite his 6-foot-tall hero.

To populate his recreation of the ancient city, for Mohenjo Daro director, Ashutosh Gowariker naturally required a huge number of non-actors as extras. With the full cooperation of the Bhuj panchayat or community council, the filmmakers hosted full-fledged auditions for all the local residents. Many of those seen on-screen in cityscapes and group scenes throughout Mohenjo Daro are in their real-life local citizens of Bhuj.

Pre-production
Construction of the primary outdoor sets to be used in recreating the ancient city duly commenced in Bhuj, Gujarat, near where director Ashutosh Gowariker had shot his early film, Lagaan (2001).

As AGPPL producer Sunita Gowariker recounted their initial dialogue when Ashutosh Gowariker decided Mohenjo Daro as his next project, her immediate response was that the city does not exist any more, how would they shoot the film. To which Ashutosh responded: "We put up the whole city!" The film sets ultimately built to recreate the ancient city of Mohenjo-Daro spanned more than 25 acres.

Painstaking effort was made to ensure precise accuracy of the city's film set construction, matching its proportions and architecture to the actual archaeological ruins. The famous Great Bath, for instance, is built exactly to scale, as are the houses in the film. To quote lead actress Pooja Hegde, "The sets were so detailed that once we stepped onto them, you were enveloped by the ambience. Ashu sir's detailing is so great that if there's a mashal, the wall behind it would be blackened to resemble soot. Whenever I stepped onto the sets, I automatically got into the mood ... Ashu sir made you feel like you were already there."

However, construction was delayed in mid-September 2014, when workers belonging to Allied Mazdoor Union and Film Studio Setting refused to complete the pre-production work, alleging non-payment of their regular expenses and remuneration. To this stalled situation, Gowariker took a legal route and lodged a complaint with the 'Indian Film and Television Producers Council' accusing the members of stalling work that would result in losses to the company. Lawrence D'Souza, the executive producer of the film, maintained that though their payments were ready, the remote filming locations of Bhuj delayed the reception of the same.

Ayananka Bose had originally been signed as the cinematographer. Still, when the film was delayed, he took up other projects as he was paid on a project-to-project basis. Bose failed to join the discussions prior to filming and requested Gowariker to be allowed to join the set directly after he was done with his other commitments. A displeased Gowariker replaced Bose with C. K. Muraleedharan.

The initial outdoor schedule of principal photography had been projected to begin in November 2014. However, the further delay occurred when lead actor Hrithik Roshan ripped apart his shoulder during training in late October 2014. Because Mohenjo Daro was a physically demanding film with challenging action sequences that were to be shot starting with the very first schedule, and no body doubles were to be used, producer-director Ashutosh Gowariker postponed the shoot six weeks until January 2015. Confirming this delay, producer Sunita Gowariker of AGPPL stated, "Ashutosh and I want Hrithik to recuperate fully before beginning the film, since we plan to start with action sequences. Now we will start shooting in the first week of January. It is important to us that Hrithik is 100% fit, and shifting the shooting dates by a few weeks makes a lot of sense."

Filming
Principal photography commenced in Bhuj on 27 January 2015. But the demanding action sequences needed by the film took a hard physical toll on the cast which resulted in delays due to injury, especially when an accident involved the lead actor, Hrithik Roshan, who was required for the maximum number of scenes. For instance, shooting was delayed for several days in March 2015, when Hrithik sprained his neck during a fight sequence. The first schedule of 101 days nonetheless wrapped up in Bhuj by 23 May 2015. In June 2015, Hrithik started training to fight with tigers in one of the sequences of the film. A second, shorter outdoor schedule resumed in Bhuj in late summer and was completed by October 2015.

Another outdoor schedule of filming began in Jabalpur on 2 November 2015, where a fight sequence with crocodiles was completed on the banks of river Narmada at Bhedaghat.

In December 2015, the next schedule began at Film City in Mumbai, where most interior sets used for the film had been constructed. Unfortunately, however, an on-set accident during an action sequence in January 2016 tore two ligaments and severely sprained the ankle of lead actor Hrithik Roshan, which kept him home on crutches and doctor-ordered bed rest for two whole months before primary photography could resume in late March.

On 4 April 2016, the crew filmed the climax of the film at China Creek in Thane. Principal photography of Mohenjo Daro finally wrapped on 8 April 2016.

Post-production
Post-production of Mohenjo Daro was supervised by director Ashutosh Gowariker in conjunction with editor Sandeep Francis. Sound re-recording was performed at Futureworks by Justin Jose K. according to the sound design by Parikshit Lalwani and Kunal Mehta. Digital intermediate was done by Prime Focus, colorist Makarand Surte. Visual effects were completed by the firm Drishyam VFX under the guidance of VFX consultant Karen Goulekas in conjunction with VFX supervisor Govardhan Vigraham.

India's mandatory Central Board of Film Certification cleared Mohenjo Daro for release without any cuts, awarding it a "U/A" certificate.

Accusations of stolen script
On 3 August 2016, the Bombay High Court rejected allegations by Akashaditya Lama that Mohenjo Daro (2016) film director Ashutosh Gowariker had stolen his script, and also "... imposed exemplary and punitive costs of Rs. 150,000 against Lama for putting false allegations and harassing makers of the film. The court has also slammed Lama for giving interviews, media articles and related material put on social media to harass the director and other stars of the film." Gowariker donated the entire fine received (approx. $2,246) to the Naam Foundation, a charity to benefit Maharashtra's drought-hit farmers.

Music
The music for the film was composed by A. R. Rahman, marking his fourth collaboration with Gowariker, after Lagaan, Swades, and Jodhaa Akbar. The lyrics were penned by Javed Akhtar. The music rights were acquired by T-Series.

The soundtrack consists of eight tracks, namely, "Mohenjo Mohenjo", "Sindhu Ma", "Sarsariya", "Tu Hai", "Whispers Of The Mind", "Whispers Of The Heart", "The Shimmer Of Sindhu", and Lakh Lakh Thora". The album was released by T-Series on 6 July 2016.

Release
Mohenjo Daro released in 2600–2700 screens in India. Disney India announced in September 2016, that the company would end production of Bollywood films and instead would shift focus on releasing Disney films produced in the United States. Initially, the film announced to release on 14 January 2016, 19 December 2015 and 10 March 2016.

Locarno International Film Festival
Even before the film's theatrical release to the public, Mohenjo Daro had been honoured by selection as the Closing Film of the 69th Locarno International Film Festival in Switzerland. Thus on 13 August 2016, Mohenjo Daro was screened at the Piazza Grande, immediately before Locarno's award ceremony.

Special screenings
Mohenjo Daro was screened at the 45th Annual Conference on South Asia in Madison, Wisconsin (United States) on 23 October 2016. A special screening of the film was also arranged for the officials of the Information and Broadcasting Ministry in New Delhi on 18 September 2016.

Critical reception
Mohenjo Daro received mixed reviews from critics who praised its cast performances, musical numbers, action sequences, VFX and characterisation, but criticised its historical inaccuracies, script and screenplay.

Srijana Mitra Das of The Times of India gave the film a rating of 4/5 and wrote "Straight away, if you want to enjoy Mohenjo Daro, leave your disbelief by the door for Ashutosh Gowarikar's newest blast from the past only works as a fairy tale, not nailed in history, but hanging somewhere between Game of Thrones and Baahubali." Mumbai Mirror gave the film rating of 3/5 and termed Mohenjo Daro as good. Bollywood Hungama gave the film rating of 2.5/5 and wrote "Mohenjo Daro comes across as a grand historical fictional tale which appeals only in parts." Rachit Gupta of Filmfare gave the film a rating of 2.5/5 and wrote "Full marks to director Ashutosh Gowariker and the Mohenjo Daro team for making a film that’s detailed and a very good insight into the lost Indus Valley Civilisation. The close attention to detail, especially on the production design is the strength of this movie. If you’ve ever wondered what the ancient cities of Mohenjo-daro and Harappa must’ve looked like, this movie is a must watch."

Box office
Mohenjo Daro clashed with Akshay Kumar's Rustom. Mohenjo Daro grossed inr 1030000000 worldwide in its first 10 days. Its final worldwide gross was inr 1080000000, including inr 806000000 in India and inr 272000000 overseas. In addition to its box office gross, the film also earned inr 600000000 from satellite rights (₹450 million) and music rights (₹150 million).

title: Mohenjo Daro (film)


text:
Adolph Zukor

Adolph Zukor (Czukor Adolf; January 7, 1873 – June 10, 1976) was a Hungarian-American film producer best known as one of the three founders of Paramount Pictures. He produced one of America's first feature-length films, The Prisoner of Zenda, in 1913.

Early life
Zukor was born to an Ashkenazi Jewish family in Ricse, in the Kingdom of Hungary in January 1873, which was then a part of the Austro-Hungarian Empire. His father, Jacob, who operated a general store, died when he was a toddler, while his mother, Hannah Liebermann, died when he was 7 years old. Adolph and his brother Arthur moved in with Kalman Liebermann, their uncle. Liebermann, a rabbi, expected his nephews to become rabbis, but instead Adolph served a three-year apprenticeship in the dry goods store of family friends. When he was 16, he decided to emigrate to the United States. He sailed from Hamburg on the s/s Rugia on March 1 and arrived in New York City under the name Adolf Zuckery on March 16, 1891. Like most immigrants, he began modestly. After landing in New York City, he began working in an upholstery shop. A friend then got him a job as an apprentice at a furrier.

Zukor stayed in New York City for two years. When he left to become a "contract" worker, sewing fur pieces and selling them himself, he was 20 years old and an accomplished designer. He was young and adventuresome, and the 1893 Columbian Exposition in Chicago drew him to the Midwest. There he started a fur business. In the second season of operation, Zukor's Novelty Fur Company expanded to 25 men and opened a branch.

Historian Neal Gabler wrote, "one of the stubborn fallacies of movie history is that the men who created the film industry were all impoverished young vulgarians..." Zukor clearly didn't fit this profile. By 1903, he already looked and lived like a wealthy young burgher, and he certainly earned the income of one. He had a commodious apartment at 111th Street and Seventh Avenue in New York City's wealthy German-Jewish section".

In 1918, he moved to New City, Rockland County, New York, where he purchased 300 acres of land from Lawrence Abraham, heir to the A&S Department Stores. Abraham had already built a sizable house, a nine-hole golf course and a swimming pool on this property. Two years later, Zukor bought an additional 500 acres, built a night house, guest house, movie theater, locker room, greenhouses, garages and staff quarters, and hired golf architect A.W. Tillinghast to build an 18-hole championship golf course. Today, Zukor's estate is the private Paramount Country Club.

Early film career
In 1903, he became involved in the film industry when his cousin, Max Goldstein, approached him for a loan to invest in a chain of theaters. These theaters were started by Mitchell Mark in Buffalo, New York, and hosted Edisonia Hall. Mark needed investors to expand his chain of theaters. Zukor gave Goldstein the loan and formed a partnership with Mark and Morris Kohn, a friend of Zukor's who also invested in the theaters. Zukor, Mark, and Kohn opened a penny arcade operating as The Automatic Vaudeville Company on 14th Street in New York City. They soon opened branches in Boston, Philadelphia, and Newark, with funding by Marcus Loew. By 1910, Zukor already owned a nickelodeon chain and became Leow's partner in a theater circuit. Two years later, he sold his shares in Loew's company in order to purchase the French film, Queen Elizabeth.

Famous Players
In 1912, Adolph Zukor established Famous Players Film Company—advertising "Famous Players in Famous Plays"—as the American distribution company for the French film production Les Amours de la reine Élisabeth starring Sarah Bernhardt. The following year he obtained the financial backing of the Frohman brothers, the powerful New York City theatre impresarios. Their primary goal was to bring noted stage actors to the screen and Zukor went on to produce The Prisoner of Zenda (1913). He purchased an armory on 26th Street in Manhattan and converted it into Chelsea Studios, a movie studio that is still used today.

In 1916, the company merged with Jesse L. Lasky's company to form Famous Players–Lasky.

Paramount Pictures
The Paramount Pictures Corporation was formed to distribute films made by Famous Players–Lasky and a dozen smaller companies which were pulled into Zukor's corporate giant. The consolidations led to the formation of a nationwide film distribution system.

In 1917, Zukor acquired 50% of Lewis J. Selznick's Select Pictures which led Selznick's publicity to wane. Later, however, Selznick bought out Zukor's share of Select Pictures.

Zukor shed most of his early partners; the Frohman brothers, Hodkinson and Goldwyn were out by 1917.

In 1919, the company bought 135 theaters in the Southern states, making the producing concern the first that guaranteed exhibition of its own product in its own theaters. He revolutionized the film industry by organizing production, distribution, and exhibition within a single company.

Zukor believed in employing stars. He signed many of the early ones, including Mary Pickford, Roscoe "Fatty" Arbuckle, Marguerite Clark, Pauline Frederick, Douglas Fairbanks, Gloria Swanson, Rudolph Valentino, and Wallace Reid. With so many important players, Zukor also pioneered "Block Booking" for Paramount Pictures, which meant that an exhibitor who wanted a particular star's films had to buy a year's worth of other Paramount productions. That system gave Paramount a leading position in the 1920s and 1930s, but led the government to pursue it on antitrust grounds for more than 20 years.

Zukor was the driving force behind Paramount's success. Through the teens and twenties, he also built the Publix Theatres Corporation, a chain of nearly 2000 screens. He also ran two production studios, one in Astoria, New York (now the Kaufman Astoria Studios) and the other in Hollywood, California.

In 1926, Zukor hired independent producer B. P. Schulberg, who had an unerring eye for new talent, to run the new West Coast operations. Lasky and Zukor purchased the Robert Brunton Studios, a 26-acre facility at 5451 Marathon Street, for US$1 million. In 1927, Famous Players–Lasky took the name Paramount Famous Lasky Corporation. In 1930, because of the importance of the Publix Theatres, it became the Paramount Publix Corporation.

By then, Zukor was turning out 60 features a year. He made deals to show them all in theaters controlled by Loew's Incorporated, and also continued to add more theaters to his own chain. By 1920, he was in a position to charge what he wished for film rentals. Thus he pioneered the concept, now the accepted practice in the film industry, by which the distributor charges the exhibitor a percentage of box-office receipts.

Zukor, ever the impresario, bought a huge plot of ground at Broadway and 43d Street, over objections of his board of directors, to build the Paramount Theater and office building, a 39-story building that had its grand opening in 1926. He managed to keep stars such as Pola Negri, Gloria Swanson, and most important of all, Mary Pickford, under contract and happy to stay at Paramount. At one point, Pickford told Zukor: "You know, for years I've dreamed of making $20,000 a year before I was 20, and I'll be 20 very soon."

"I could take a hint," Zukor recalled wryly. "She got the $20,000, and before long I was paying her $100,000 a year. Mary was a terrific businessman."

Zukor was, primarily, also a businessman. "He did not take the same personal, down-to-the-last-detail interest in the making of his movies that producer-executives such as Samuel Goldwyn and Louis B. Mayer did," wrote The New York Times in Zukor's obituary at the age of 103. He became an early investor in radio, taking a 50 percent interest in the new Columbia Broadcasting System in 1928, but selling it within a few years.

Partner Lasky hung on until 1932, when Paramount nearly collapsed in the Great Depression years. Lasky was blamed for that and tossed out. In the following year, Paramount went into receivership. Ultimately at fault were Zukor's over-expansion and use of overvalued Paramount stock for purchases that made the company file for bankruptcy. A bank-mandated reorganization team kept the company intact, and, miraculously, Zukor was able to return as production chief. On June 4, 1935, John E. Otterson became president. When Barney Balaban was appointed president on July 2, 1936, Zukor was relegated to chairman of the board.

He eventually spent most of his time in New York City, but passed the winter months in Hollywood to check on his studio. He retired from Paramount Pictures in 1959 and in 1964, stepped down as chairman and assumed Chairman Emeritus status, a position he held up until his death at the age of 103 in Los Angeles.

Personal life and death
In 1897, he married Lottie Kaufman; they had two children, Eugene J. Zukor, who became a Paramount executive in 1916, and Mildred Zukor Loew who married Arthur Loew, son of Marcus Loew.

Zukor was a Freemason at Centennial Lodge No. 673, New York.

Zukor died from natural causes at his Los Angeles residence at age 103 in June 1976. He is buried at the Temple Israel Cemetery in Hastings-on-Hudson, New York.

title: Adolph Zukor


text:
Talk:Firth

Article name
Can the header be changed to either Firths (Sottish) or Firths of Scotland? I am not sure how to do it. Dieter

 * If you're logged in you can move pages. But is it necessary in this case? Does anything else need the page "Firth"? If not, then "Firth" is the simplest name for the page and probably the best. -- Tarquin 21:44 Oct 15, 2002 (UTC)

Ok, no problem, we'll leave it like this. Thabks

Programming
As of 00:04, 26 July 2006, 130.67.252.180 added "(a Scandinavian programming language is named just this, related to forth, available at ." This appears to me to be a non notable pun on Forth so I've reverted it, but note the suggestion here. ..dave souza, talk 08:17, 26 July 2006 (UTC)

Meaning of "kyle"
I suggest removing the reference to "kyles" in the opening paragraph; the Gaelic origin is 'caolas', meaning a narrows or ferry-crossing place and therefore almost opposite to the definition of 'firth'.
 * Untrue, many of these bodies are similar to firths on the east coast.--MacRusgail (talk) 18:57, 29 May 2008 (UTC)

Language
The first sentence was, badly written, such that the meaning is not clear. I made a guess as to what the meaning should be, so that now it is clear, but might be wrong. We are told to "be bold" when we edit so I was, but would someone with better knowledge please check this? I decided that the sentence meant to say that three, separate, and distinct, languages, use the word "firth" to describe certain bodies of water. Nick Beeson (talk) 13:46, 26 June 2015 (UTC)
 * I did more research, and I think I have it correct now. Scots and Lowland Scots are two names for the same language, which is a descendant of Germanic, and either a variety of English, or a closely related language. I have altered the text to reflect this. Nick Beeson (talk) 13:56, 26 June 2015 (UTC)

title: Talk:Firth