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Love Story (1970 film)

Love Story is a 1970 American romantic drama film written by Erich Segal, who was also the author of the best-selling 1970 novel of the same name. It was produced by Howard G. Minsky, and directed by Arthur Hiller, starring Ali MacGraw, Ryan O'Neal, John Marley, Ray Milland and Tommy Lee Jones in his film debut.

The film is considered one of the most romantic by the American Film Institute (No. 9 on the list) and is one of the highest-grossing films of all time adjusted for inflation. It was followed by a sequel, Oliver's Story (1978), starring O'Neal with Candice Bergen.

Plot
Oliver Barrett IV, heir of an old money East Coast White Anglo-Saxon Protestant family, attends Harvard College where he plays ice hockey. He meets Jennifer "Jenny" Cavilleri, a quick-witted, working-class Radcliffe College student of classical music; they fall in love despite their differences. Oliver's father drives a long distance to Ithaca, New York, to see his son's hockey game vs. Cornell for the All-Ivy title. Barrett is suspended from the game for fighting and Harvard loses to Cornell, 4–3. Oliver turns down his father's offer of a steak dinner and help in getting into Harvard Law School.

Jenny reveals that she has a scholarship in Paris arranged for after her Radcliffe graduation. Oliver is upset that he does not figure in Jenny's plans and proposes marriage. She accepts his proposal and he takes her to the Barrett mansion to meet his parents, who are uncomfortable with her Italian-American and blue-collar background. Oliver's father says he will cut him off financially if he marries Jenny.

They visit her father, Phil, a widowed baker in Cranston, Rhode Island, who wants Oliver to get along with his father. Phil wants a Catholic wedding but Oliver and Jenny marry themselves with him reciting "Song of the Open Road" by Walt Whitman and her reciting "Sonnett 22" by Elizabeth Barrett Browning.

Jenny works as a teacher but without his father's financial support the couple struggles to pay Oliver's way through Harvard Law School. Oliver graduates third in his class and takes a position at a high-powered New York City law firm. They are ready to start a family but fail to conceive. After Jenny undergoes three blood tests, Oliver is told that she is terminally ill.

Oliver attempts to continue as normal without telling Jenny of her condition, but she confronts her doctor and finds out the truth. Oliver buys tickets to Paris, but she declines to go, wanting only to spend time with him. Oliver seeks money from his estranged father to pay for Jenny's medical care. His father asks if he has "gotten a girl in trouble". Oliver says yes, and his father writes a check.

From her hospital bed, Jenny makes arrangements with her father for a Catholic funeral. She tells Oliver to not blame himself, insisting that he never held her back from music and Paris and it was worth it for the love they shared. Jenny's last wish is for Oliver to embrace her tightly as she dies.

A grief-stricken Oliver leaves the hospital and he sees his father outside, who has rushed to New York City from Massachusetts to offer his help after learning about Jenny's condition. Oliver tells him, "Jenny's dead," and his father says "I'm sorry," to which Oliver responds, "Love – Love means never having to say you're sorry", something that Jenny had said to him earlier. Oliver walks alone to the open air ice rink, where Jenny had watched him skate the day she was hospitalized.

Cast

 * Ali MacGraw as Jennifer "Jenny" Cavilleri
 * Ryan O'Neal as Oliver Barrett IV
 * John Marley as Phil Cavilleri
 * Ray Milland as Oliver Barrett III
 * Russell Nype as Dean Thompson
 * Katharine Balfour as Mrs. Barrett
 * Sydney Walker as Dr. Shapeley
 * Robert Modica as Dr. Addison
 * Walker Daniels as Ray Stratton
 * Tommy Lee Jones as Hank Simpson (credited as Tom Lee Jones)
 * John Merensky as Steve
 * Andrew Duncan as Reverend Blaufelt

Development
Erich Segal was an academic who had branched into screenwriting with films such as Yellow Submarine and The Games. He wanted to do a "story out of a 1940s movie" updated to the present day, "based on what I have observed among my students, living as I do right on campus. It deals with today’s personal commitment of one to one and the quest for a permanent relationship which begins much younger than it used to. The old, mindless football game dating is gone. The question of sexual morality is irrelevant, but there is much less ‘swinging’ among young people now than in the old days.”

The movie was originally written as a screenplay but Erich Segal was unable to sell it. Howard Minsky, who was head of the motion picture division on the east coast for the William Morris Agency, who represented Segal, believed in the project. According to Arthur Hiller, "He gave up his job and made an arrangement with Erich Segal because he had such faith in that project. He mothered it all the way through. If it hadn't been for him, it would never have been a film."

Minksy says he had Segal rewrite the script seven times. The changes included altering the female lead from being Jewish to Italian-American, deleting the character of the girl's mother, and minimising swearing and nudity.

The script was read by Ali MacGraw, who wanted to make it. She had just made Goodbye Columbus for Paramount Pictures, then under Robert Evans. Paramount had signed MacGraw to a three picture deal and agreed to make the film as a vehicle for MacGraw. In May 1969, Evans announced that he wanted a "sensitive young actor" like Beau Bridges or Jon Voight for the lead and Larry Peerce, who had made Goodbye Columbus, would direct. Evans later said Peerce took the job because he "desperately needed a gig" but the director was always unhappy working on the project and pulled out after a month. He was replaced by Anthony Harvey, who had made Lion in Winter, but Harvey quit the project after collaborating with Segal. Eventually Arthur Hiller, who was making two films at Paramount (The Out of Towners and Plaza Suite) agreed to direct.

In September 1969 it was announced Hiller would direct and that Harper and Row would publish a novelised version of the script in February of the following year. According to Evans, Paramount had suggested Segal adapt the screenplay into a novel to help promote the film. Minsky says he was the one who suggested this. Peter Bart, then an executive at Paramount, claims he suggested it. Segal says that he wrote the novel at the same time as the screenplay with considerable input from Gene Young of Harpers who was editor. The book was published in time for Valentine's Day in 1970, and became a best seller.

Casting
According to press reports, the lead role of Oliver Barrett IV was refused by Jeff Bridges, Michael Douglas, Beau Bridges, Michael York and Jon Voight. Evans says that Michael Sarrazin, Peter Fonda and Keith Carradine also turned it down. MacGraw recalls auditioning opposite Christopher Walken, Ken Howard and David Birney.

Hiller says "we tested eight or nine different actors and Ryan was the best. He didn't bowl us over at first. Then I saw some footage of a film he was just completing at 20th Century Fox and I thought it would be wonderful. He just had that empathy and feeling that was so necessary." According to a contemporary account, O'Neal was tested on the recommendation of Erich Segal, who had worked with him on The Games; he was paid $25,000. Evans later claimed he insisted O'Neal be cast because he made the best test, over the objections of Hiller who wanted Walken.

In November 1969 Evans claimed "We looked at 1,000 actors and that's not an exaggeration. We tested 14 unknowns and none of them compared to O'Neal."

Bill Cleary, former Harvard and 1960 U.S. Olympic hockey star (and later Harvard's hockey coach/athletic director), was Ryan O'Neal's hockey stand-in during key hockey scenes where skating and hockey-playing ability were required. Hockey scenes were filmed in three days at Harvard's former Watson Rink, which was rebuilt and is now known as Bright-Landry Hockey Center. Other hockey players in the film were played mostly by actual Harvard and Boston University hockey players, including Joe Cavanagh and Mike Hyndman.

O'Neal's younger brother, Kevin O'Neal (1945-2023), had a bit part in the film.

Production
Filming started 18 November 1969 on location in Cambridge and Boston, and New York. It was the first time a film had gotten permission to film at Harvard.

Filming Love Story on location resulted in damage to trees on campus. This experience, followed by a similar experience with the film A Small Circle of Friends (1980), caused the university administration to deny most subsequent requests for filming on location.

The scenes where they lived as newlyweds in Cambridge were filmed in the Agassiz neighborhood. Oliver carries Jenny over the threshold at 119 Oxford Street.

Jimmy Webb wrote a score for the film that was not used. Burt Bacharach was approached to do the score but pulled out when Robert Evans requested a score similar to that of Frances Lai. Eventually Lai was cast.

The main song in the film, "(Where Do I Begin?) Love Story" was a major success, particularly the vocal rendition recorded by Andy Williams.

Arthur Hiller recalled, "We thought we were making a nice little movie. Well, all of us thought that except the producer who kept saying, "Arthur, believe me, this will be big." And I said, "Yes Howard, you're the producer, you have to feel that way." But he was totally right."

Filming finished on 3 February 1970.

Release
The premiere for Love Story took place at Loews's State I theatre in New York City on Wednesday, December 16, 1970.

Critical reception
Overall, Love Story received positive reviews. Rotten Tomatoes retrospectively collected reviews from 30 critics and gave the film a score of 63%. The critical consensus reads: "Earnest and determined to make audiences swoon, Love Story is an unabashed tearjerker that will capture hearts when it isn't inducing eye rolls."

Roger Ebert gave the film four out of four stars and called it "infinitely better than the book," adding, "because Hiller makes the lovers into individuals, of course we're moved by the film's conclusion. Why not?" Charles Champlin of the Los Angeles Times was also positive, writing that although "the plotline has been honored many times... It's the telling that matters: the surfaces and the textures and the charm of the actors. And it is hard to see how these quantities could have been significantly improved upon in Love Story."

Newsweek felt the film was contrived and film critic Judith Crist called Love Story "Camille with bullshit". Vincent Canby of The New York Times wrote, "I can't remember any movie of such comparable high-style kitsch since Leo McCarey's Love Affair (1939) and his 1957 remake, An Affair to Remember. The only really depressing thing about Love Story is the thought of all the terrible imitations that will inevitably follow it." Gene Siskel gave the film two stars out of four and wrote that "whereas the novel has a built-in excuse for being spare (it is told strictly as the boy's reminiscence), the film does not. Seeing the characters in the movie ... makes us want to know something about them. We get precious little, and love by fiat doesn't work well in film." Gary Arnold of The Washington Post wrote, "I found this one of the most thoroughly resistible sentimental films I've ever seen. There is scarcely a character or situation or line in the story that rings true, that suggests real simplicity or generosity of feeling, a sentiment or emotion honestly experienced and expressed." Writer Harlan Ellison wrote in The Other Glass Teat, his book of collected criticism, that it was "shit". John Simon wrote that Love Story was so bad that it never once moved him.

Love Story was ranked number 9 on the AFI's 100 Years...100 Passions list, which recognizes the top 100 love stories in American cinema. The film also spawned a trove of imitations, parodies, and homages in countless films, having re-energized melodrama on the silver screen, as well as helping to set the template for the modern "chick flick".

Box office
Love Story was an instant box-office smash. It opened in two theatres in New York City, Loew's State I and Tower East, grossing $128,022 in its first week. It expanded into another 166 theatres on Christmas Day and grossed a record $2,463,916 for the weekend, becoming the number-one film in the United States. It also grossed a record $5,007,706 for the week and grossed $2,493,167 the following weekend. It remained number one at the US box office for the next four weeks, before finishing second behind The Owl and the Pussycat for one week and then returning to the top of the box office for another six weeks.

It went into general release in the United States on June 23, 1971, expanding into an additional 143 theatres in New York, Los Angeles, Chicago, Detroit and St. Louis, grossing $1,660,761 in five days and returned to number one at the US box office for another 3 weeks, for a total of 15 weeks at number one. It was the sixth highest-grossing film of all time in U.S. and Canada with a gross of $106,397,186.

Adjusted for inflation, the film remains one of the top 50 domestic grosses of all time. It grossed an additional $67 million in international film markets for a worldwide total of $173.4 million ($1.3 billion in 2023 dollars).

Arthur Hiller later reflected, "We had been going through a period of individuality in the 1960s, what I call the ‘biker films, like Easy Rider (1969). If Love Story [had come] out a few years earlier, it would have been run over by the motorcycles. A few years after, it would be lost to special effects. Movies have their time of why they work and why they don’t."

Hiller also said, "The message of Love Story really is what two people can give to each other for love alone. You know, people made fun of the phrase "Love means never having to say you're sorry." But think about it. All it says is that if you love somebody, you understand they're not perfect and they don't have to apologize for every little thing they do that isn't perfect. Its an affirmation of the human spirit... We hit at a time when if you disagreed with somebody, you hated them. That was the feeling in 1969 and 1970. Well, people were tired of that and were looking to say, hey, love is okay. You can be mad at somebody and still love them."

Peter Bart, an executive at Paramount when the film was made, said "Love Story had become a sort of cinematic aphrodisiac. A kid would take his date to the film, they would cry together, commiserate about the tragedy, then they would go to bed, as though to celebrate their survival. Hence each night the lines seemed to grow longer as the boys kept pressing their luck."

Television
The film was first broadcast on ABC television on October 1, 1972, and became the most-watched film on television surpassing Ben-Hur (1959) with 27 million homes watching, with a score of 42.3 by Nielsen ratings and an audience share of 62%. The rating was equalled the following year by Airport (1970) and then surpassed in 1976 by Gone with the Wind (1939).

Harvard College screenings
The Crimson Key Society, a student association, has sponsored screenings of Love Story during orientation to each incoming class of Harvard College freshmen since the late 1970s. During the showings, society members and other audience members mock, boo, and jeer "maudlin, old-fashioned and just plain schlocky" moments to humorously build school spirit.

Soundtrack
The soundtrack from the film was released separately as an album, and distributed by Quality Records.

Theme with lyrics
The theme song with lyrics, "(Where Do I Begin?) Love Story", was not in the movie, but was released shortly after.

Sequels and remake
O'Neal and Milland reprised their roles for a sequel, Oliver's Story, released in 1978. It was based on Segal's 1977 novel. The film begins with Jenny's funeral, then picks up 18 months later. Oliver is a successful, but unhappy, lawyer in New York. Although still mourning Jenny, he manages to find love with heiress Marcie Bonwit (Candice Bergen). Suffering from comparisons to the original, Oliver's Story did poorly with both critics and audiences.

NBC broadcast Love Story, a short-lived romantic anthology television series, in 1973–1974. Although it shared its name with the novel and movie and used the same theme song – "(Where Do I Begin) Love Story" – as the film, it otherwise was unrelated to them, with no characters or storylines in common with either the novel or the film.

In February 2021, remodeled ViacomCBS streaming service Paramount+ announced a remake of Love Story as a TV series, to be part of their new lineup of content. The series is to be produced by young adult stalwarts Josh Schwartz and Stephanie Savage, made prominent due to young adult hits such as The O.C., Gossip Girl and Looking for Alaska. It is to be made for Schwartz and Savage's production house, Fake Empire, as a co-production between Paramount Television Studios and CBS Studios.

Criticism
Jenny Cavilleri's disease being unspecified and her relatively good looks during the onset of her illness was met was criticism for its implausibility. Vincent Canby wrote in his original New York Times review that it was "as if Jenny was suffering from some vaguely unpleasant Elizabeth Arden treatment". Mad magazine ran a parody of the film ("Lover's Story") in its October 1971 issue, which depicted Ali MacGraw's character as stricken with "Old Movie Disease", an ailment that causes a dying patient to become "more beautiful by the minute". In 1997, Roger Ebert defined "Ali MacGraw's Disease" as a movie illness in which "the only symptom is that the patient grows more beautiful until finally dying".

In popular culture
In 1971, the 20th episode of the fourth season of The Carol Burnett Show featured a take-off of the film called "Lovely Story", with Carol Burnett in the MacGraw role and Harvey Korman in the O'Neal role.

The film's female protagonist has been credited with the spike in the baby name Jennifer in North America in 1970, launching it to the number 1 feminine given name. It would hold this position for 14 years.

At the 2002 Winter Olympics in Salt Lake City, Canadian Pairs figure skaters Jamie Sale and David Pelletier skated their free skate to the film's theme, initially losing the gold medal in a now-infamous 2002 Winter Olympics figure skating scandal moment in sports history.

In 2020, the film's theme music was played during the funeral procession of Iranian General Qasem Soleimani.

In an interview at the 2022 Toronto International Film Festival, Taylor Swift cited Love Story as an inspiration for the autumnal set design of All Too Well: The Short Film.

title: Love Story (1970 film)


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The French Connection (film)

The French Connection is a 1971 American neo-noir action thriller film directed by William Friedkin and starring Gene Hackman, Roy Scheider and Fernando Rey. The screenplay, written by Ernest Tidyman, is based on Robin Moore's 1969 non-fiction book of the same name. It tells the story of fictional NYPD detectives Jimmy "Popeye" Doyle and Buddy "Cloudy" Russo, whose real-life counterparts were narcotics detectives Eddie Egan and Sonny Grosso, in pursuit of wealthy French heroin smuggler Alain Charnier (played by Rey).

At the 44th Academy Awards, the film earned eight nominations and won five for Best Picture, Best Actor (Hackman), Best Director, Best Film Editing and Best Adapted Screenplay. It was also nominated for Best Supporting Actor (Scheider), Best Cinematography and Best Sound Mixing. Tidyman also received a Golden Globe Award nomination, a Writers Guild of America Award and an Edgar Award for his screenplay. A sequel, French Connection II, followed in 1975 with Hackman and Rey reprising their roles.

Often considered one of the greatest films ever made, The French Connection appeared in the American Film Institute's list of the best American films in 1998 and again in 2007. In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically or aesthetically significant".

Plot
In Marseille, a police detective follows Alain Charnier, who runs a heroin-smuggling syndicate. The policeman is murdered by Charnier's hitman, Pierre Nicoli. Charnier plans to smuggle $32 million worth of heroin into the United States by hiding it in the car of his unsuspecting friend, television personality Henri Devereaux, who is traveling to New York by ship. In New York City, detectives Jimmy "Popeye" Doyle and Buddy "Cloudy" Russo go out for drinks at the Copacabana. Popeye notices Salvatore "Sal" Boca and his young wife, Angie, entertaining mobsters involved in narcotics. They tail the couple and establish a link between the Bocas and lawyer Joel Weinstock, a buyer in the narcotics underworld. Popeye learns that a shipment of heroin will arrive soon. The detectives convince their supervisor to wiretap the Bocas' phones. Popeye and Cloudy are joined by federal agents Mulderig and Klein.

Devereaux's vehicle arrives in New York City. Boca is anxious to make the purchase while Weinstock urges patience, knowing they are being surveiled. Charnier realizes he is being surveiled as well, identifies Popeye as a detective, and escapes on a departing subway shuttle at Grand Central Station. To evade Popeye, he has Boca meet him in Washington D.C., where Boca asks for a delay to avoid the police. Charnier wants to conclude the deal quickly. On the flight back to New York City, Nicoli offers to kill Popeye, but Charnier knows that Popeye would be replaced by another policeman. Nicoli insists, however, saying they will be back in France before a replacement is assigned. Soon after, Nicoli attempts to shoot Popeye but misses. Popeye chases Nicoli, who boards an elevated train. Popeye shouts to a policeman on the train to catch Nicoli and then commandeers an automobile. He gives chase, crashing into several vehicles on the way.

Realizing he is being pursued, Nicoli shoots the pursuing policeman who tries to intervene, and hijacks the motorman at gunpoint. He forces him to drive through the next station, and shoots the train conductor. The motorman has a heart attack, and they are about to slam into a stationary train when an emergency brake engages, hurling the assassin to the floor. Popeye arrives to see the killer descending from the platform. Nicoli sees Popeye, turns to run, but is shot dead. After a lengthy stakeout, Popeye impounds Devereaux's Lincoln. In a police garage, he and his team tear the car apart piece by piece, searching for the drugs, but seemingly come up empty handed. Then, Cloudy notes that the vehicle's shipping weight is 120 pounds over its listed manufacturer's weight; they realize that the contraband must still be in the car. Finally, they remove the rocker panels and discover the hidden packages of heroin. Because the original car was destroyed during the search, the police substitute a look-alike car and return it to Devereaux who in turn delivers it to Charnier.

Charnier drives to an old factory on Wards Island to meet Weinstock and deliver the drugs. After Charnier has the rocker panel covers removed, Weinstock's chemist tests one of the bags and confirms its quality. Charnier removes the drugs and hides the money, concealing it inside the rocker panels of another car purchased at an auction of junk cars, which he will take back to France. Charnier and Sal drive off in the Lincoln, but hit a roadblock with a large contingent of police led by Popeye. The police chase the Lincoln back to the factory, where Boca is killed during a shootout while most of the other criminals surrender. Charnier escapes into a nearby abandoned bakery with Popeye and Cloudy in pursuit. Popeye sees a shadowy figure in the distance and opens fire too late to heed a warning, killing Mulderig. Undaunted, Popeye tells Cloudy that he will get Charnier. After reloading his gun, Popeye runs into another room and a single gunshot is heard.

Title cards describe the fates of various characters: Weinstock was indicted, but his case was dismissed for "lack of proper evidence"; Angie Boca received a suspended sentence for an unspecified misdemeanor; Lou Boca (Sal's brother, an accessory to the handoff) received a reduced sentence; Devereaux served four years in a federal penitentiary for conspiracy; and Charnier was never caught. Popeye and Cloudy were transferred out of the narcotics division and reassigned.

Production
The film was originally set up at National General Pictures, but they later dropped it, and Richard Zanuck and David Brown offered to make it at Fox with a production budget of $1.5 million. The film came in $300,000 over budget at a total cost of $1.8 million.

In an audio commentary track recorded by Friedkin for the Collector's Edition DVD release of the film, Friedkin notes that the film's documentary-like realism was the direct result of the influence of having seen Z, an Algerian film by Costa-Gavras. Friedkin mentioned the film's influence on him when directing The French Connection:

"After I saw Z, I realized how I could shoot The French Connection. Because he shot Z like a documentary. It was a fiction film but it was made like it was actually happening. Like the camera didn't know what was gonna happen next. And that is an induced technique. It looks like he happened upon the scene and captured what was going on as you do in a documentary. My first films were documentaries too. So I understood what he was doing but I never thought you could do that in a feature at that time until I saw Z."

The film was among the earliest to show the World Trade Center: the completed North Tower and the partially completed South Tower are seen in the background of the scenes at the shipyard following Devereaux's arrival in New York.

Casting
Though the cast ultimately proved to be one of the film's greatest strengths, Friedkin had problems with casting choices from the start. He was strongly opposed to the choice of Gene Hackman for the lead, and actually first considered Paul Newman (out of the budget range), then Jackie Gleason, Peter Boyle and a New York columnist, Jimmy Breslin, who had never acted before. However, at that time Gleason was considered box-office poison by the studio after his film Gigot had flopped several years before, Boyle declined the role after disapproving of the violent theme of the film, and Breslin refused to get behind the wheel of a car, which was required of Popeye's character for an integral car chase scene. Steve McQueen was also considered, but he did not want to do another police film after Bullitt and, as with Newman, his fee would have exceeded the movie's budget. Tough guy Charles Bronson was also considered for the role. Lee Marvin, James Caan, and Robert Mitchum were also considered; all turned it down. Friedkin almost settled for Rod Taylor (who had actively pursued the role, according to Hackman), another choice the studio approved, before he went with Hackman.

The casting of Fernando Rey as the main French heroin smuggler, Alain Charnier (irreverently referred to throughout the film as "Frog One"), resulted from mistaken identity. Friedkin had seen Luis Buñuel's 1967 French film Belle de Jour and had been impressed by the performance of Francisco Rabal, who had a small role in the film. However, Friedkin did not know his name, and remembered only that he was a Spanish actor. He asked his casting director to find the actor, and the casting director instead contacted Rey, a Spanish actor who had appeared in several other films directed by Buñuel. After Rabal was finally reached, they discovered he spoke neither French nor English, and Rey was kept in the film.

Comparison to actual people and events
The plot centers on drug smuggling in the 1960s and early 1970s, when most of the heroin illegally imported into the East Coast came to the United States through France (see French Connection).

On April 26, 1968, a record-setting seizure of 246 lb of heroin was made, concealed in a Citroën DS and smuggled to New York on the SS France (1960) ocean liner. The total amount smuggled during the many transatlantic voyages of this DS was 1606 lb according to arrested smuggler Jacques Bousquet.

In addition to the two main protagonists, several of the fictional characters depicted in the film also have real-life counterparts. The Alain Charnier character is based upon Jean Jehan, who was arrested later in Paris for drug trafficking, though he was not extradited since France does not extradite its citizens. Sal Boca is based on Pasquale "Patsy" Fuca, and his brother Anthony. Angie Boca is based on Patsy's wife Barbara, who later wrote a book with Robin Moore detailing her life with Patsy. The Fucas and their uncle were part of a heroin-dealing crew that worked with some of the New York City crime families.

Henri Devereaux, who takes the fall for importing the film's drug-laden Lincoln into New York City, is based on Jacques Angelvin, a television actor arrested and sentenced to three to six years in a federal penitentiary for his role, serving about four before returning to France and turning to real estate. The Joel Weinstock character is, according to the director's commentary, a composite of several similar drug dealer financiers.

Car chase
The film is often cited as featuring one of the greatest car chase sequences in movie history. The chase involves Popeye commandeering a civilian's car (a 1971 Pontiac LeMans) and then frantically chasing an elevated train, on which a hitman is trying to escape. The action scene, coordinated by Bill Hickman, was filmed in Bensonhurst, Brooklyn, roughly running under the BMT West End Line (currently the, then the B train) which runs on an elevated track above Stillwell Avenue, 86th Street and New Utrecht Avenue in Brooklyn, with the chase ending just north of the 62nd Street station. At that point, the train hits a train stop, but is going too fast to stop in time and collides with the train ahead of it, which has just left the station.

The most famous shot of the chase is made from a front bumper mount and shows a low-angle point-of-view shot of the streets racing. Director of photography Owen Roizman wrote in American Cinematographer magazine in 1972 that the camera was undercranked to 18 frames per second to enhance the sense of speed; this effect can be seen on a car at a red light whose exhaust pipe is pumping smoke at an accelerated rate. Other shots involved stunt drivers who were supposed to barely miss hitting the speeding car, but due to errors in timing, accidental collisions occurred and were left in the final film. Friedkin said that he used Santana's cover of Peter Green's song "Black Magic Woman" during editing to help shape the chase sequence, though the song does not appear in the film, "it [the chase scene] did have a sort of pre-ordained rhythm to it that came from the music."

The scene concludes with Doyle confronting Nicoli the hitman at the stairs leading to the subway and shooting him as he tries to run back up them, its climax captured as a still shot in a theatrical release movie poster for the film. Many of the police officers acting as advisers for the film objected to the scene on the grounds that shooting a suspect in the back was simply murder, not self-defense, but director Friedkin stood by it, stating that he was "secure in my conviction that that's exactly what Eddie Egan (the model for Doyle) would have done and Eddie was on the set while all of this was being shot."

Filming locations
The French Connection was filmed in the following locations:

 * 50th Street and First Avenue, New York City (where Doyle waits outside the restaurant)
 * 82nd Street and Fifth Avenue (near the Metropolitan Museum of Art), New York City, (Weinstock's apartment)
 * 86th Street, Brooklyn, New York City (the chase scene)
 * 91 Wyckoff Avenue, Bushwick, Brooklyn (Sal and Angie's Cafe)
 * 940 2nd Avenue, Manhattan (where Charnier and Nicoli buy fruit and Popeye is watching)
 * 177 Mulberry Street near Broome street, Little Italy, New York City (where Sal makes a drop)
 * Avenue De L'Amiral Ganteaume, Cassis, Bouches-du-Rhône, France (Charnier's house)
 * Château d'If, Marseille, Bouches-du-Rhône, France (where Charnier and Nicoli meet Devereaux)
 * Chez Fon Fon, Rue Du Vallon Des Auffes, Marseille, Bouches-du-Rhône, France (where Charnier dines)
 * Columbia Heights, Squibb Hill, Brooklyn, New York City (where Sal parks the Lincoln)
 * Le Copain, 891 First Ave, New York City (where Charnier dines)
 * Doral Park Avenue Hotel (now 70 Park Avenue Hotel), 38th Street and Park Avenue, New York City (Devereaux's hotel)
 * Dover street near by the Brooklyn Bridge, New York City (where Sal leaves the Lincoln)
 * Forest Avenue, Ridgewood, Queens, New York City
 * 42nd Street Shuttle platform at Grand Central Terminal, Manhattan, New York City
 * Henry Hudson Parkway Route 9A at Junction 24 (car accident)
 * Marlboro Housing Project, Avenues V, W, and X off Stillwell Avenue, Brooklyn, New York City (where Popeye lives)
 * Marseille, Bouches-du-Rhône, France
 * Montee Des Accoules, Marseille, Bouches-du-Rhône, France
 * Onderdonk Avenue, Ridgewood, Queens, New York City
 * Plage du bestouan, Cassis, Bouches-du-Rhône, France
 * Putnam Avenue, Ridgewood, Queens, New York City
 * Randalls Island, East River, New York City
 * Ratner's Restaurant, 138 Delancey Street, New York City (where Sal and Angie emerge)
 * Remsen Street, Brooklyn, New York City (where Charnier and Nicoli watch the car being unloaded)
 * Rio Piedras (now demolished), 912 Broadway, Brooklyn, New York City (where the Santa Claus chase starts)
 * Rapid Park Garage, East 38th Street near Park Avenue, New York City (where Cloudy follows Sal)
 * Ronaldo Maia Flowers, 27 East 67th Street at Madison, New York City (where Charnier gives Popeye the slip)
 * The Roosevelt Hotel, 45th Street and Madison Avenue, Manhattan, New York City
 * Rue des Moulins off Rue Du Panier, Old Town of Marseille, Bouches-du-Rhône, France (where the French policeman with the bread walks)
 * La Samaritaine at 2 Quai Du Port, Marseille, Bouches-du-Rhône, France
 * South Street at Market Street at the foot of Manhattan Bridge, New York City (where Doyle emerges from a bar)
 * Triborough Bridge to Randall's Island toll bridge at the east end of 125th Street, New York City
 * Wards Island, New York City (the final shootout)
 * The National Mall in Washington, D.C., near The Capitol (where Charnier and Sal meet)
 * Westbury Hotel, 15 East 69th Street, Manhattan, New York City (Charnier's hotel)

Reception
Roger Ebert of the Chicago Sun-Times gave the film four out of four stars and ranked it as one of the best films of 1971. Roger Greenspun of The New York Times wrote: The French Connection "is in fact a very good new kind of movie, and that in spite of its being composed of such ancient material as cops and crooks, with thrills and chases, and lots of shoot-'em-up." A review in Variety stated: "So many changes have been made in Robin Moore's taut, factual reprise of one of the biggest narcotics hauls in New York police history that only the skeleton remains, but producer Philip D'Antoni and screenwriter Ernest Tidyman have added enough fictional flesh to provide director William Friedkin and his overall topnotch cast with plenty of material, and they make the most of it." Gene Siskel of the Chicago Tribune awarded a full four stars out of four and raved: "From the moment a street-corner Santa Claus chases a drug pusher thru the Bedford-Stuyvesant section of Brooklyn, to the final shootout on deserted Ward's Island, The French Connection is a gutty, flatout thriller, far superior to any caper film of recent vintage."

Charles Champlin of the Los Angeles Times called it "every bit as entertaining as Bullitt, a slam-bang, suspenseful, plain-spoken, sardonically funny, furiously paced melodrama. But because it has dropped the romance and starry glamor of Steve McQueen and added a strong sociological concern, The French Connection is even more interesting, thought-provoking and reverberating." Gary Arnold of The Washington Post called the film "an undeniably sensational movie, a fast, tense, explosively vicious little cops-and-robbers enterprise" with "a deliberately nervewracking, runaway quality ... It's a cheap thrill in the same way that a roller coaster ride is a cheap thrill. It seems altogether appropriate that the showiest sequence intercuts between a runaway train and a recklessly speeding car." In his book Reverse Angle, John Simon wrote: "Friedkin has used New York locations better than anyone to day," "[t]he performances are all good", and "Owen Roizman's cinematography, grainy and grimy, is a brilliant rendering of urban blight."

Pauline Kael of The New Yorker was generally negative, writing: "It's not what I want not because it fails (it doesn't fail), but because of what it is. It is, I think, what we once feared mass entertainment might become: jolts for jocks. There's nothing in the movie that you enjoy thinking about afterward—nothing especially clever except the timing of the subway-door-and-umbrella sequence. Every other effect of the movie—even the climactic car-versus-runaway-elevated-train chase—is achieved by noise, speed, and brutality." David Pirie of The Monthly Film Bulletin called the film "consistently exciting" and Gene Hackman "extremely convincing as Doyle, trailing his suspects with a shambling determination; but there are times when the film (or at any rate the script) seems to be applauding aspects of his character which are more repulsive than sympathetic. Whereas in The Detective or Bullitt the hero's attention was directed unmistakably towards liberal ends (crooked businessmen, corrupt local officials, etc.) Doyle spends a fair part of his time beating up sullen blacks in alleys and bars. These violent sequences are almost all presented racily and amusingly, stressing Doyle's 'lovable' toughness as he manhandles and arrests petty criminals, usually adding a quip like 'Lock them up and throw away the key.'"

The film has an approval rating on Rotten Tomatoes of 96% based on 90 reviews, with an average rating of 8.80/10. The website's critical consensus reads: "Realistic, fast-paced and uncommonly smart, The French Connection is bolstered by stellar performances by Gene Hackman and Roy Scheider, not to mention William Friedkin's thrilling production." On Metacritic, the film has a score of 94% based on reviews from 18 critics, indicating "universal acclaim".

In 2014, Time Out listed The French Connection as the 31st best action film of all time, according to a poll of several film critics, directors, actors and stunt actors.

The French Connection has been described as a neo-noir film by some authors.

The Japanese filmmaker Akira Kurosawa cited The French Connection as one of his favorite films.

Director David Fincher cited The French Connection as one of the five films that "had a Profound Impact on my Life" and served as an important influence on the cinematography on his film Seven; Brad Pitt cited The French Connection as a reason he participated in Seven.

Director Steven Spielberg said that he studied The French Connection in preparation for his 2005 historical action thriller film, Munich.

Awards and nominations
The American Film Institute recognizes The French Connection on several of its lists:
 * AFI's 100 Years...100 Movies - #70
 * AFI's 100 Years...100 Movies (10th Anniversary Edition) - #93
 * AFI's 100 Years…100 Thrills - #8
 * AFI's 100 Years…100 Heroes and Villains: Jimmy "Popeye" Doyle - #44 Hero

In 2012, the Motion Picture Editors Guild listed the film as the tenth best-edited film of all time based on a survey of its membership.

Home media releases
The French Connection has been issued in a number of home video formats. On September 25, 2001, the film was released on VHS and DVD, with both formats being released in box sets featuring both the film and its sequel, French Connection II. For a 2009 reissue on Blu-ray, William Friedkin controversially altered the film's color timing to give it a "colder" look. Cinematographer Owen Roizman, who was not consulted about the changes, dismissed the new transfer as "atrocious". On March 18, 2012, a new Blu-ray transfer of the movie was released. This time, the color-timing was supervised by both Friedkin and Roizman, and the desaturated and sometimes over-grainy look of the 2009 edition has been corrected.

In June 2023, media publications discovered that a version of the film available on digital platforms such as Apple TV and the Criterion Channel had been altered to excise a scene in the film that contains usage of racial slurs. The decision received backlash from fans and cineasts, who compared the censorship to vandalism and called out the decision for hiding its historical context. Joseph Wade compared the cut to vandalising a piece of art.

Sequels and adaptations

 * French Connection II (1975) is a fictional sequel.
 * NBC-TV aired a made-for-TV movie, Popeye Doyle (1986), another fictional sequel starring Ed O'Neill in the title role.

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

title: The French Connection (film)


text:
Nicholas and Alexandra

Nicholas and Alexandra is a 1971 British epic historical drama film directed by Franklin J. Schaffner, from a screenplay by James Goldman and Edward Bond based on Robert K. Massie's 1967 book of the same name. It tells the story of the last ruling Russian monarch, Tsar Nicholas II of Russia (Michael Jayston), and his wife, Tsarina Alexandra (Janet Suzman), from 1904 until their deaths in 1918. The ensemble cast includes Tom Baker as Grigori Rasputin, Laurence Olivier as Sergei Witte, Brian Cox as Leon Trotsky, Ian Holm as Vasily Yakovlev, and Vivian Pickles as Nadezhda Krupskaya.

The film was theatrically released on 13 December 1971 by Columbia Pictures to mixed reviews and commercial failure, grossing $7 million on a $9 million budget. Regardless, the film received six nominations at the 44th Academy Awards, including for Best Picture and Best Actress (Suzman), and won two: Best Art Direction and Best Costume Design.

Plot
Tsarina Alexandra Feodorovna, wife of Tsar Nicholas II of Russia, gives birth to their fifth child and first son, Alexei. Despite pleas from Grand Duke Nicholas and Count Sergei Witte, Nicholas refuses to end the Russo-Japanese War or accept demands for a constitutional monarchy, believing that doing either will make him look weak and put the Romanov dynasty at risk. As the war continues, growing public unrest sees a procession of workers march to the Winter Palace, hoping to present Nicholas with a petition calling for political representation. Soldiers open fire on the approaching crowd, killing hundreds. The resulting revolution forces Nicholas to create the Duma.

At a gala, Alexandra meets Grigori Rasputin, a self-proclaimed holy man, who she later turns to for spiritual guidance after court physicians diagnose Alexei with haemophilia. As the years pass the close relationship between the royal family and Rasputin, combined with Rasputin's behaviour, leads to public mockery of the royal family. Nicholas eventually dismisses Rasputin from the court despite Alexandra's pleas otherwise.

The Romanov Tercentenary celebrations occur and a lavish tour across Imperial Russia ensues, but resentment amongst the impoverished remains. Amongst the national festivities and celebrations Russian prime minister Stolypin is assassinated. Nicholas responds by executing the assassins, permitting the police to terrorize the peasants, and closes the Duma.

Following a fall at the Spała Hunting Lodge, Alexei suffers a bleeding attack so severe that it is presumed he will die. Alexandra writes to Rasputin who responds with prayer and instruction for Alexei to be left alone by the doctors. His recover is chalked up to Rasputin's intervention and as a result is allowed to return to the imperial household.

After the assassination of Franz Ferdinand, Nicholas orders a mobilization of the Imperial Russian Army on the European border aimed at Austria-Hungary during the July Crisis. Germany responds by declaring war, against the assumptions of Nicholas given his familial connection to the Kaiser. Later, with the war going badly for Russia on the Eastern Front, Alexandra persuades Nicholas to take personal command of the troops; he leaves for the front, relieving the weary but experienced Grand Duke Nicholas.

Alexandra is left nominally in charge upon Nicholas' absence but a series of poor decisions leaves her seen to be a German agent under the influence of Rasputin, resulting in growing unpopularity amongst the population at large as conditions worse. Nicholas receives a visit from the Dowager Empress, but her requests for him to return to St. Petersburg and remove Rasputin go unheeded. Rasputin's later assassination does little to stop Alexandra's misrule, culminating in revolt by workers and soldiers in St. Petersburg. Nicholas finally attempts to return to Tsarskoye Selo but is instead forced to abdicate on his train.

The family, along with a small entourage, are exiled by Alexander Kerensky and the provisional government to Siberia after none of Russia's allies agree to grant the former royals sanctuary, fearing that the lingering resentment at their autocratic rule would unleash similar domestic revolts. The provisional government doesn't last however following the seizing of power by the Bolsheviks and the country's descent into civil war. Fearing that the encroaching pro-monarchist "Whites" will attempt to restore the Romanovs, the Bolsheviks in Moscow attempt to have the royal family brought back for trial.

En-route back to the capital, the royals and their escort are intercepted by representatives of the local revolutionary government, who seize the royals and bring them to Yekaterinburg. Under harsh conditions, they are guarded by Yakov Yurovsky, who later receives orders to have the family killed. In the middle of the night the family are awoken by his men and, under the pretense they need to transferred again, are brought to the cellar where they are executed.

Cast

 * The Imperial Family
 * Michael Jayston as Nicholas
 * Janet Suzman as Alexandra
 * Roderic Noble as Alexis
 * Ania Marson as Olga
 * Lynne Frederick as Tatiana
 * Candace Glendenning as Marie
 * Fiona Fullerton as Anastasia
 * Harry Andrews as Grand Duke Nicholas (Nikolasha)
 * Irene Worth as The Queen Mother Marie Fedorovna
 * The Imperial Household
 * Tom Baker as Rasputin
 * Jack Hawkins as Count Fredericks
 * Timothy West as Dr. Botkin
 * Katharine Schofield as Tegleva
 * Jean-Claude Drouot as Gilliard
 * John Hallam as Nagorny
 * Guy Rolfe as Dr. Fedorov
 * John Wood as Colonel Kobylinsky

 * The Statesmen
 * Laurence Olivier as Count Witte
 * Eric Porter as Stolypin
 * Michael Redgrave as Sazonov
 * Maurice Denham as Kokovtsov
 * Ralph Truman as Rodzianko
 * Gordon Gostelow as Guchkov
 * John McEnery as Kerensky
 * The Revolutionaries
 * Michael Bryant as Lenin
 * Vivian Pickles as Mme. Krupskaya
 * Brian Cox as Trotsky
 * James Hazeldine as Stalin
 * Stephen Greif as Martov
 * Steven Berkoff as Pankratov
 * Ian Holm as Yakovlev
 * Alan Webb as Yurovsky
 * Leon Lissek as Avadeyev
 * David Giles as Goloshchyokin

 * Other characters
 * Roy Dotrice as General Alexeiev
 * Martin Potter as Prince Yusupov
 * Richard Warwick as Grand Duke Dmitry
 * Vernon Dobtcheff as Dr. de Lazovert
 * Alexander Knox as The American Ambassador
 * Ralph Neville as The British Ambassador
 * George Rigaud as The French Ambassador
 * Curt Jürgens as The German Consul
 * Julian Glover as Gapon
 * John Shrapnel as Petya
 * Diana Quick as Sonya
 * John Forbes-Robertson as Colonel Voikov
 * Alan Dalton as Flautist
 * David Baxter as Young Bolshevik
 * Peggy Sugg as Young Opera Singer

Development
Producer Spiegel tackled Nicholas and Alexandra when he was shut out from working with director David Lean on Doctor Zhivago, which was also set against the backdrop of revolutionary Russia. Spiegel had alienated Lean when the two worked together on the film Lawrence of Arabia, pressing the perfectionist director in order to get the movie finished on time.

Spiegel initially tried to make Nicholas and Alexandra without buying the rights to the book by Robert K. Massie, claiming that the historical account was in public domain but, eventually, Spiegel purchased the rights for $150,000. He hired writer James Goldman to adapt Massie's book as a screenplay. Goldman had written the popular play and film The Lion in Winter.

The first director was George Stevens who left the project. Anthony Harvey became involved in December 1968 but he left by February 1969. Ken Russell, Lindsay Anderson, and John Boorman were all approached but turned it down. Joseph L. Mankiewicz was briefly part of the project then Charles Jarrott joined in November 1969. After seeing Patton, Goldman recommended Franklin J. Schaffner who signed in July 1970.

Spiegel turned to former collaborators John Box for production design, and cinematographer Freddie Young (Lawrence of Arabia) to give the production the epic touch he felt it needed. Principal photography took place in Spain and Yugoslavia.

Spiegel had to work with stricter budget constraints from Columbia Studios than before. He had wanted Peter O'Toole as Rasputin and Vanessa Redgrave as Alexandra but was constrained. Notable actors such as Laurence Olivier, Irene Worth, Michael Redgrave and Jack Hawkins appeared in the film, but actor Rex Harrison turned down a supporting role as too small. Spiegel offered the role of the Empress to Grace Kelly who turned it down.

Tom Baker, a member of the Royal National Theatre, was recommended for the role of Rasputin by Laurence Olivier, then the director of the company.

Filming
Filming began in Spain in November 1970 and took twenty weeks.

Critical
Despite the detailed production design, photography, and strong performances from the cast, Nicholas and Alexandra failed to find the large audience it needed to be a financial success. However, it was chosen by the American National Board of Review as one of the Top 10 Films of 1971.

The review aggregator website Rotten Tomatoes reported that 67% of critics have given the film a positive review based on 15 reviews, with an average rating of 6.20/10. On Metacritic, the film has an average score of 57 out of 100 based on 10 reviews, indicating "mixed or average reviews".

Variety called it "a film of exquisite taste."

Roger Ebert of the Chicago Sun Times gave it two-and-a-half stars out of four, writing "If the movie isn't exactly stirring, however, it is undeniably interesting, especially after the intermission."

Halliwell's Film and Video Guide described Nicholas and Alexandra as an "inflated epic of occasional interest, mainly for its sets" and "generally heavy going", awarding it one star from a possible four. In 2013, Alex von Tunzelmann wrote for The Guardian, "Nicholas and Alexandra boasts terrific performances and gorgeous production design, but it's bloated and unwieldy. There is more history here than the film-makers know what to do with." For Radio Times, Tom Hutchinson awarded the film three stars out of five, describing it as a "sumptuous, if overlong, epic" which "shows the stretchmarks of too much padding" and "overwhelms us with its detail, though Tom Baker is a lot of fun as the leering mystic Rasputin". Stanley Kauffmann of The New Republic described the film as 'flabby'.

Box Office
By the end of the 1970s the film had lost Columbia $3 million.

Historical accuracy
There is at least one anachronism; Peter Stolypin had been assassinated in 1911, two years before the Romanov dynasty tercentenary in which he is portrayed as being alive before being assassinated.

Home media
Nicholas and Alexandra received a home video release on VHS in 1987 by RCA/Columbia Pictures Home Video and reissued in the 1990s by Columbia Tristar Home Video.

Its DVD release was on 27 July 1999 from Sony Pictures Home Entertainment. The DVD featured a vintage 14-minute featurette on the production of the film and six more minutes of scenes and dialogue not found on previous VHS tapes.

The film received a Blu-ray release in February 2013 from Twilight Time. The Blu-ray featured three featurettes on the production of the film covering the makeup, costume designs and actresses playing the Tsar's daughters in the film. It also contained the original theatrical trailer as well as an isolated music score. The latter was presented in stereo even though the sound on the Blu-ray was presented in mono. The Blu-ray release was limited to only 3,000 copies. This film is also available for sale or rent as a video online download through both Amazon and Apple's iTunes Store, with Amazon's online file containing the six more minutes of scenes and dialogue that Apple's iTunes file doesn't.

Soundtrack
This soundtrack was written by Richard Rodney Bennett.

• # Overture – 2:19

• # Nicholas and Alexandra – 1:26

• # The Royal Children – 1:23

• # The Palace – 1:00

• # Sunshine Days – 3:21

• # Alexandra – 1:18

• # The Romanov Tercentenary – 0:52

• # Lenin in Exile – 1:21

• # The Princessess – 2:20

• # The Breakthrough – 2:35

• # The Declaration of War – 2:55

• # Extracte – 2:40

• # The Journey to the Front – 1:02

• # Military March – 2:40

• # Rasputin's Death – 1:28

• # The People Revolt – 1:19

• # Alexandra Alone – 1:11

• # Farewells – 2:30

• # Dancing in the Snow – 1:11

• # Departure from Tobolsk – 1:30

• # Elegy – 1:38

• # Epilogue – 1:50

title: Nicholas and Alexandra


text:
Convergent

Convergent is an adjective for things that converge. It is commonly used in mathematics and may refer to:

 * Convergent boundary, a type of plate tectonic boundary
 * Convergent (continued fraction)
 * Convergent evolution
 * Convergent series

Convergent may also refer to:
 * Convergent Books, an imprint of Crown Publishing Group
 * Convergent Technologies, a computer company
 * Convergents, a Catalan political party

title: Convergent


text:
Bert Hölldobler

Berthold Karl Hölldobler BVO  (born 25 June 1936) is a German zoologist, sociobiologist and evolutionary biologist who studies evolution and social organization in ants. He is the author of several books, including The Ants, for which he and his co-author, E. O. Wilson, received the Pulitzer Prize for non-fiction writing in 1991.

Biography
Hölldobler was born June 25, 1936, in Erling-Andechs, Bavaria, Germany; he was the son of Karl and Maria Hölldobler. He studied biology and chemistry at the University of Würzburg. His doctoral thesis was on the social behavior of the male carpenter ant and their role in the organization of carpenter ant societies. He was named professor of zoology at the University of Frankfurt in 1971. From 1973 to 1990, he was professor of biology and the Alexander Agassiz Professor of Zoology at Harvard University in Cambridge, Massachusetts. In 1989, he returned to Germany to accept the chair of behavioral physiology and sociobiology at the Theodor-Boveri-Institute of the University of Würzburg. From 2002 to 2008 Hölldobler was an Andrew D. White Professor at Large at Cornell University in Ithaca, New York. Since his retirement in 2004 Hölldobler has worked as a research professor in the School of Life Sciences at Arizona State University in Tempe, Arizona. There he is one of the founders of the Social Insect Research Group (SIRG) and the Center for Social Dynamics and Complexity.

Research fields and publications
Hölldobler is one of the world's leading experts in myrmecology. His experimental and theoretical contributions cover sociobiology, behavioral ecology, and chemical ecology. His primary study subjects are social insects and in particular ants. His work has provided valuable insights into mating strategies, regulation of reproduction, the evolution of social parasitism, chemical communications, and the concept of "superorganisms". Publications on these topics include:

 * 1965. with U. Maschwitz, Der Hochzeitsschwarm der Rossameise Camponotus herculeanus L. (Hym. Formicidae). Z. Vergl. Physiol. 50:551-568
 * 1971. Sex pheromone in the ant Xenomyrmex floridanus J. Insect. Physiol. 17:1497-1499
 * 1973. with M. Wüst Ein Sexualpheromon bei der Pharaoameise Monomorium pharaonis (L.) Z. Tierpsychol. 32:1-9
 * 1974. Home range orientation and territoriality in harvesting ants Proc. Natl. Acad. Sci. USA, 71:3274-3277
 * 1976. Recruitment behavior, home range orientation and territoriality in harvester ants, Pogonomyrmex Behav. Ecol. Sociobiol. 1:3-44
 * 1978. with H. Engel, Tergal and sternal glands in ants Psyche 85:285-330
 * 1980. with C. Lumsden, Territorial Strategies in Ants Science 210:732-739
 * 1982. with H. Engel, R.W. Taylor, A New Sternal Gland in Ants and its Function in Chemical Communication Naturwissenschaften 69:90
 * 1983. with E.O. Wilson, Queen Control in Colonies of Weaver Ants (Hymenoptera: Formicidae) Ann. of the Ent. Soc. of America 76:235-238
 * 1984. with N.F. Carlin, Nestmate and Kin Recognition in Interspecific Mixed Colonies of Ants Science 222:1027-1029
 * 1987. with N.F. Carlin, Anonymity and specificity in the chemical communication signals of social insects J. Comp. Physiol. A 161:567-581
 * 1992. with K. Sommer, Coexistence and dominance among queens and mated workers in the ant Pachycondyla tridentata Naturwissenschaften 19:470-472
 * 1998. with M. Obermayer, G.D. Alpert, Chemical trail communication in the amblyoponine species Mystrium rogeri Forel (Hymenoptera, Formicidae, Ponerinae) Chemoecology, 8:119-123
 * 1999 with K. Tsuji, K. Egashira, Regulation of worker reproduction by direct physical contact in the ant Diacamma sp. from Japan Animal Behaviour 58:337-343
 * 2003. with J. Gadau, C.P. Strehl, J. Oettler, Determinants of intracolonial relatedness in Pogonomyrmex rugosus (Hymenoptera; Formicidae) – mating frequency and brood raids, Molecular Ecology 12: 1931-1938
 * 1999. with J. Liebig, C. Peeters, Worker policing limits the number of reproductives in a ponerine ant Proc. R. Soc. Lond. B 266:1865-1870

Awards

 * John Simon Guggenheim Fellowship (1980)
 * Gottfried Wilhelm Leibniz Prize of the Deutschen Forschungsgemeinschaft (1990)
 * Pulitzer Prize (1991) for The Ants together with Edward O. Wilson
 * U.S. Senior Scientist Prize of the Alexander von Humboldt Foundation
 * Werner Heisenberg-Medal of the Alexander von Humboldt Foundation
 * Körberpreis for the European Science (1996)
 * Karl Ritter von Frisch Medal and Science Prize of the German Zoological Society (1996)
 * Benjamin Franklin-Wilhelm v. Humboldt Prize of the German-American Academic Council ( 1999)
 * Honorary doctor Biology of the University of Konstanz (2000)
 * Order of Merit First Class of the Federal Republic of Germany (2000)
 * Bavarian Maximilian Order for Science and Art (2003)
 * Alfried-Krupp-Wissenschaftspreis (2004)
 * Treviranus-Medal of the Verband deutscher Biologen (vdbiol) (2006)
 * Lichtenberg Medal (2010)
 * Ernst-Jünger-Prize for Entomology Baden-Württemberg (2010)
 * Cothenius Medal in Gold of the Deutschen Akademie der Naturforscher Leopoldina (2011)
 * Exemplar Award by the American Animal Behavior Society (2013)
 * Fabricius medal (2019) (German entomological society)

Academic associations

 * Fellow of the American Animal Behavior Society (1992)
 * Bayerischen Akademie der Wissenschaften (1986 korrespondierend, 1995 ordentlich)
 * American Academy of Arts and Sciences
 * Deutsche Nationale Akademie der Wissenschaften Leopoldina (1975)
 * Fellow of the American Association for the Advancement of Sciences (1979)
 * Academia Europaea (1994)
 * Berlin-Brandenburgische Akademie der Wissenschaften (1995)
 * National Academy of Sciences (United States) (1998)
 * American Philosophical Society (1997)
 * Fellow of the Entomological Society of America (2019)

Documentary films
In addition to his published scientific papers and books, Hölldobler's work was the subject of the documentary film Ants - Nature's Secret Power the winner of the 2005 Jackson Hole Wildlife Film Festivals Special Jury Prize.

Books

 * Bert Hölldobler, E.O. Wilson: The Ants, Harvard University Press, 1990, ISBN 0-674-04075-9
 * Bert Hölldobler, E.O. Wilson: Journey to the Ants: A Story of Scientific Exploration, 1994, ISBN 0-674-48525-4
 * Bert Hölldobler, E.O. Wilson: The Superorganism: The Beauty, Elegance, and Strangeness of Insect Societies, W.W. Norton, 2008. ISBN 978-0-393-06704-0
 * Bert Hölldobler, E.O. Wilson: The Leafcutter Ants: Civilization by Instinct, W.W. Norton & Company, Inc., 2011, ISBN 978-0-393-33868-3
 * Bert Hölldobler, Christina L. Kwapich: The Guests of Ants: How Myrmecophiles Interact with Their Hosts, Belknap Press of Harvard University Press, 2022, ISBN 978-0-674-26551-6

Web interviews
Hölldobler's 2007 interview on the Ask A Biologist podcast program details his early life growing up in Germany as well as his interest in ants and writing.
 * UC Riverside. Leading Entomologist to Give Talk at UC Riverside on Communication and Cooperation in Ant Societies
 * UC Riverside. Leading Entomologist to Give Talk at UC Riverside on Communication and Cooperation in Ant Societies
 * UC Riverside. Leading Entomologist to Give Talk at UC Riverside on Communication and Cooperation in Ant Societies
 * UC Riverside. Leading Entomologist to Give Talk at UC Riverside on Communication and Cooperation in Ant Societies

title: Bert Hölldobler


text:
The Ants

The Ants is a zoology textbook by the German entomologist Bert Hölldobler and the American entomologist E. O. Wilson, first published in 1990. It won the Pulitzer Prize for General Non-Fiction in 1991.

Contents
This book is primarily aimed at academics as a reference work, detailing the ants' anatomy, physiology, social organization including their caste system, altruistic behaviour, and chemical communication with pheromones, their ecology (vital for turning the soil and controlling insect pests), and natural history.

An account of some of Hölldobler and Wilson's most interesting findings, popularized for the layman, can be found in their 1994 book Journey to the Ants.

Reception
The Science magazine reviewer described the book as a "mighty tome" and commented that it would "surely take its place among the greatest of all entomology books", as it was "a wonderful exploration of almost every ramification of evolutionary biology, from developmental biology to the structure of ecological communities". The illustrations are praised as lavish and extremely detailed, with monochrome drawings and 24 colour plates. All the 297 extant genera are illustrated and identifiable with the supplied keys. But "The Ants, like every great book and every ant colony, is much more than the sum of its parts."

Diana Wheeler, reviewing the book in The Quarterly Review of Biology, comments that William Morton Wheeler thought his book not practical to revise as it would require too much work and would make the book too expensive, and that it was fortunate that the authors "did not flinch" at the challenge. They had produced a massive but affordable volume, and it was accessible to the public as well as to entomologists.

title: The Ants


text:
Barry Lopez

Barry Holstun Lopez (January 6, 1945 – December 25, 2020) was an American author, essayist, nature writer, and fiction writer whose work is known for its humanitarian and environmental concerns. In a career spanning over 50 years, he visited more than 80 countries, and wrote extensively about a variety of landscapes including the Arctic wilderness, exploring the relationship between human cultures and nature. He won the National Book Award for Nonfiction for Arctic Dreams (1986) and his Of Wolves and Men (1978) was a National Book Award finalist. He was a contributor to magazines including Harper's Magazine, National Geographic, and The Paris Review.

Early life
Lopez was born Barry Holstun Brennan on January 6, 1945, in Port Chester, New York, to Mary Frances (née Holstun) and John Brennan. His family moved to Reseda, California after the birth of his brother, Dennis, in 1948. He attended grade school at Our Lady of Grace during this time. His parents divorced in 1950, after which his mother married Adrian Bernard Lopez, a businessman, in 1955. Adrian Lopez adopted Barry and his brother, and they both took his surname. Barry Lopez experienced years of sexual abuse as the victim of a serial child molester posing as a doctor who went by the name Harry Shier.

When Lopez was 11, his family relocated to Manhattan, where he attended the Loyola School, graduating in 1962. As a young man, Lopez considered becoming a Catholic priest or a Trappist monk before attending the University of Notre Dame, earning undergraduate and graduate degrees there in 1966 and 1968. He also attended New York University and the University of Oregon. Although he drifted away from Catholicism, daily prayer remained important to him as a continuous, respectful attendance to the presence of the Divine.

Career and works
Lopez's essays, short stories, reviews and opinion pieces began to appear in 1966. In his career of over 50 years, he traveled to over 80 countries, writing extensively about distant and exotic landscapes including the Arctic wilderness, exploring the relationships between human cultures and wild nature. Through his works, he also highlighted the harm caused by human actions on nature. He was a contributing editor of Harper's Magazine and a contributor to many magazines including National Geographic, The Paris Review, and Outside. Until 1981, he was also a landscape photographer. In 2002, he was elected a fellow of The Explorers Club.

Arctic Dreams (1986) describes five years in the Canadian Arctic, where Lopez worked as a biologist. Robert Macfarlane, reviewing the book in The Guardian, describes him as "the most important living writer about wilderness". In The New York Times, Michiko Kakutani argued that Arctic Dreams "is a book about the Arctic North in the way that Moby-Dick is a novel about whales".

A number of Lopez's works, including Giving Birth to Thunder, Sleeping with His Daughter (1978), make use of Native American legends, including characters such as Coyote. Crow and Weasel (1990) thematizes the importance of metaphor, which Lopez described in an interview as one of the definitive "passion[s]" of humanity.

James I. McClintock describes Lopez as an admirer of Wendell Berry. McClintock further observes, referring to Arctic Dreams, that Lopez "conjoin[s] ecological science and romantic insight". Slovic identifies "careful structure, euphony, and an abundance of particular details" as central characteristics of Lopez's work.

His final work published during his lifetime was Horizon (2019), an autobiographical telling of his travels over his lifetime. The Guardian describes the book as "a contemporary epic, at once pained and urgent, personal and oracular". A collection of essays, some of which had previously been published and others of which were new to the public, was published posthumously by Penguin Random House under the title Embrace Fearlessly the Burning World (2022), with an introduction by Rebecca Solnit.

An archive of Lopez's manuscripts and other work has been established at Texas Tech University, where he was the university's Visiting Distinguished Scholar. He also taught at universities including Columbia University, Eastern Washington University, University of Iowa, and Carleton College, Minnesota.

Fiction

 * Distinguished Recognition Award, Friends of American Writers
 * Parents' Choice Award
 * Pacific Northwest Booksellers Association Award, Critics' Choice Award
 * Distinguished Recognition Award, Friends of American Writers
 * Parents' Choice Award
 * Pacific Northwest Booksellers Association Award, Critics' Choice Award

Nonfiction

 * National Book Award finalist, John Burroughs Medal, Christopher Medal, Pacific Northwest Booksellers Association Award
 * National Book Award, National Book Critics Circle Award finalist
 * Introduction by Rebecca Solnit.
 * Introduction by Rebecca Solnit.
 * Introduction by Rebecca Solnit.
 * Introduction by Rebecca Solnit.
 * Introduction by Rebecca Solnit.
 * Introduction by Rebecca Solnit.

Awards and honors

 * National Book Award
 * Award in Literature, American Academy of Arts and Letters
 * Lannan Literary Award
 * Guggenheim Fellowship
 * John Burroughs Medal
 * Two Pushcart Prizes
 * National Science Foundation Fellowship
 * MacDowell Colony Residency Fellowship
 * Academy of Television Arts and Sciences Award
 * Elected Fellow of the Explorers Club
 * Doctor of Humane Letters from Whittier College

Personal life
Lopez's first marriage to Sandra Landers in 1967 ended in a divorce in 1998. He married Debra Gwartney in 2007. After the property surrounding their long-term home near Finn Rock on the McKenzie River in western Oregon was burned in the 2020 Holiday Farm Fire, the couple moved temporarily to Eugene, Oregon.

Lopez died on December 25, 2020, from complications of prostate cancer, in Eugene, Oregon.

title: Barry Lopez


text:
Westermarck effect

The Westermarck effect, also known as reverse sexual imprinting, is a psychological hypothesis that states that people tend not to be attracted to peers with whom they lived like siblings before the age of six. This hypothesis was first proposed by Finnish anthropologist Edvard Westermarck in his book The History of Human Marriage (1891) as one explanation for the incest taboo.

Research since Westermarck
The Westermarck effect has gained some empirical support. Proponents point to evidence from the Israeli kibbutz system, from the Chinese Shim-pua marriage customs, and from closely related families.

In the case of the Israeli kibbutzim (collective farms), children were reared somewhat communally in peer groups, based on age, not biological relations. A study of the marriage patterns of these children later in life revealed that out of the nearly 3,000 marriages that occurred across the kibbutz system, only 14 were between children from the same peer group. Of those 14, none had been reared together during the first six years of life. This result suggests that the Westermarck effect operates from birth to at least the age of six.

In Shim-pua marriages, a girl would be adopted into a family as the future wife of a son, often an infant at that time. These marriages often failed, as would be expected according to the Westermarck hypothesis.

Studies show that cousin-marriage in Lebanon has a lower success rate if the cousins were raised in sibling-like conditions, first-cousin unions being more successful in Pakistan if there was a substantial age difference, as well as reduced marital appeal for cousins who grew up sleeping in the same room in Morocco. Evidence also indicates that siblings separated for extended periods of time since childhood were more likely to report having engaged in sexual activity with one another.

Criticism
Eran Shor and Dalit Simchai revisited the kibbutzim results and found sexual attraction where it had not been acted on. They conclude that any innate aversion needs to be backed up by social pressures and norms.

title: Westermarck effect


text:
Rush

Rush(es) may refer to:

United States

 * Rush, Colorado
 * Rush, Kentucky
 * Rush, New York
 * Rush City, Minnesota
 * Rush Creek (Kishwaukee River tributary), Illinois
 * Rush Creek (Marin County, California), a stream
 * Rush Creek (Mono County, California), on the eastern slope of the Sierra Nevada, running into Mono Lake
 * Rush County, Indiana
 * Rush County, Kansas
 * Rush Historic District, a zinc mining region in the Ozark Mountains of Arkansas
 * Rush Lake (disambiguation), various lakes
 * Rush Street (Chicago), Illinois
 * Rush Township (disambiguation), various places
 * Rush Valley, Utah

Elsewhere

 * Rush, Dublin, a small seaside town in Fingal, Ireland
 * Rush Glacier, Brabant Island, Antarctica
 * Rush Peak, in the Karakoram range, Pakistan

People

 * Rush (name), a list of people with either the surname or given name
 * Rush (League of Legends player) (born 1993), from South Korea
 * Rush (wrestler) (born 1988), ring name of Mexican professional wrestler William Muñoz
 * Rush or Georges St-Pierre (born 1981), Canadian mixed martial artist

Fictional characters

 * Rush, a robotic dog from the Megaman universe
 * Nicholas Rush, a character in the television series Stargate Universe
 * William Rush, protagonist in the Time Crisis 4 video game

Films

 * Rushes or dailies, the first print made of a day's filming
 * Rush (1983 film), a science fiction film directed by Anthony Richmond
 * Rush (1991 film), a crime film directed by Lili Fini Zanuck
 * Rush (2012 film), a Bollywood thriller film directed by Shamin Desai
 * Rush (2013 film), a film about Formula 1 directed by Ron Howard
 * Rush (2019 film), a Sri Lankan action thriller film directed by Mahesh Munasingh

Gaming

 * Rush (video game series), an arcade racing series
 * L.A. Rush, the fourth installment of the Rush series
 * Rush (video gaming), an attack strategy
 * Kinect Rush: A Disney•Pixar Adventure, a game for Windows 10 and Xbox by Pixar

Bands and albums

 * Rush (band), a Canadian progressive rock band
 * Rush (Rush album), their 1974 debut album
 * Rush (Anna Abreu album), 2011
 * Rush (Bel Canto album), 1998
 * Rush (Darude album), a 2003 trance album
 * Rush (Dean Geyer album), a 2007 pop album
 * Rush (EP), by Monsta X, 2015
 * Rushes (album), a 1998 ambient electronic album by The Fireman
 * Rush (soundtrack), the soundtrack for the 1991 film
 * Rush (2013 soundtrack), from the film of the same name
 * Rush!, a 2023 album by Måneskin

Songs

 * "Rush" (Aly & AJ song), a 2005 pop song
 * "Rush" (Ayra Starr song), 2022
 * "Rush" (Big Audio Dynamite II song), a 1991 alternative dance song
 * "Rush" (Lewis Capaldi song), 2018
 * "Rush" (The Pillows song), a 1999 Japanese-rock song
 * "Rush" (Poisonblack song), a 2006 goth-rock song
 * "Rush" (Troye Sivan song), a 2023 dance-pop song
 * "Rush" (William Singe song), 2017
 * "Rush", a 1993 song by Depeche Mode on Songs of Faith and Devotion
 * "Rush", a 2005 song by MYMP on Beyond Acoustic
 * "Rush", a 2022 song by Raveena from the album Asha's Awakening
 * "Rush", a 2005 song by Rihanna from the album Music of the Sun
 * "Rush", a 2024 song by Twice from the EP With You-th
 * "Rush", a 2006 song by Uverworld from the album Timeless
 * "The Rush", a 1991 song by Luther Vandross
 * "Rushes" (song), Darius Danesh's second single from his debut album Dive In
 * "Rush Rush" (Debbie Harry song), 1983 song
 * "Rush Rush" (Paula Abdul song), 1991 Paula Abdul song

Television

 * Rush (1974 TV series), a 1974 Australian historical drama
 * Rush (2008 TV series), a 2008 Australian police drama
 * Rush (2023 TV series), an Australian travel adventure series
 * Rush TV (2009 TV series), a 2009 Australian music and fashion show
 * Rush (Kenyan TV series), a 2014 Kenyan sitcom-soap opera
 * Rush (American TV series), a 2014 American medical drama
 * "Rush" (The X-Files), an episode of The X-Files
 * Rush (TV channel), a New Zealand TV channel
 * 9Rush, an Australian TV channel

Education

 * Rush University, Chicago, Illinois
 * Rush Medical College, its medical school

Plants

 * Rushes, grass-like plants in the Juncaceae family
 * Sweet rush, Acorus calamus, an aromatic grass-like plant unrelated to the Juncaceae
 * List of plants known as rush

Ships

 * USCGC Rush (WHEC-723), a United States Coast Guard high endurance cutter
 * USRC Rush, four revenue cutters of the United States Revenue Marine (1790–1894) and United States Revenue Cutter Service (1894–1915)
 * USS Rush, the name of two United States Navy ships

Sports

 * Rush (Australian rules football), a tactic in Australian rules football
 * Rush (gridiron football), a tactic in American football
 * Rush, in croquet, a roquet whose aim is to move the target ball a significant distance
 * Chicago Rush, an Arena Football League team
 * Denver Rush, an American women's gridiron football team
 * Saskatchewan Rush, a National Lacrosse League team

Other uses

 * Gold rush, a fervor which arises when new unclaimed deposits of gold ore are discovered
 * Rush (psychology), an acute transcendent state of euphoria
 * Rush (Thorpe Park), a giant swing ride at Thorpe Park in Chertsey, Surrey, England
 * Rush week, a period for joining many fraternities and sororities
 * Rushes (company), a post-production and visual effects company based in London
 * Toyota Rush, a version of the Daihatsu Terios mini sport utility vehicle marketed in Japan, Indonesia, Malaysia and Latin America
 * Rush Enterprises, American commercial vehicle dealer

title: Rush


text:
Talk:Rush

Title
Wouldn't rushing or rush (football) be a better title here? There is also a band named rush and that is actually what I expected this entry to be about. --mav
 * I added a few different uses of "rush"; it's almost a disambiguation page now. -- Merphant

Redirecting to Rush (band)
I think [] was a bad idea and I reverted it. My rationale: People are equally likely to be looking for the dictionary defition of "rush" as they do Rush Limbaugh or Rush (band) if they type "rush" and hit Go in the search box. For reference, Google gives on its first page of results for "rush": link to the dictionary definition, the band's website, RushLimbaugh.com, a medical centre, and a university. Which suggests people may be looking for any one of a lot of things when they come to the Rush page, not just the band. Kimchi.sg 09:58, 16 August 2006 (UTC)

 * Agree. With such a variety of meanings, there's no reason to assume that someone is most likley to be looking for the band. Ward3001 00:32, 30 September 2007 (UTC)

Japanese band
where is the JAPANESE band rush? surely they are the #2 usage after the canadian one, no?!

A capella rush
Yale University has a long-standing tradition of a capella rush, which often involves a greater time commitment than fraternity or sorority rush and is rather distinctive in forming the school's unique character. Would it be suitable for a capella rush to receive brief mention on this page? Does this practice occur at any other schools? Yitzhak1995 07:19, 18 December 2006 (UTC)
 * I would suggest putting that on fraternities and sororities page. This is a disambiguation page that is primarily for navigation and not detailed information like that. (John User:Jwy talk) 13:25, 18 December 2006 (UTC)

The Fireman album
I added it, since I got to this page looking for it and it was missing. Antichris (talk) 15:37, 26 December 2007 (UTC)

Origins?
I often come here looking for the original usage of a word, but find the content limited to slang or new usages. I beieve the term rush is first found in military vocabulary, perhaps also as a hunting term. It seems t me that to compile a useful reference, some thought should be given to a word's original meaning. Of course I understand that an encyclopedia is not a dictionary; nevertheless these omissions should be corrected. --APDEF (talk) 03:36, 7 August 2008 (UTC)

title: Talk:Rush


text:
Iona (band)

Iona was a progressive Celtic Christian rock band from the United Kingdom. It was formed in the late 1980s by lead vocalist Joanne Hogg and multi-instrumentalists David Fitzgerald and Dave Bainbridge. Troy Donockley joined later, playing the uilleann pipes, low whistles, and other instruments.

History
When Iona released their first self-titled album in 1990, drummer Terl Bryant, bassist Nick Beggs (formerly the bassist of Kajagoogoo), Fiona Davidson on Celtic harp, Peter Whitfield on strings, Troy Donockley on Uilleann pipes, and percussionist Frank van Essen had joined the band. The first album Iona is mostly about the history of the island of Iona, from which the band got its name.

Iona returned in 1992 with The Book of Kells, a concept album with several tracks based on pages from the eponymous book. Terl Bryant took over on drums and percussion for the album after the Frank van Essen left. Fitzgerald left that year to pursue a degree in music.

Beyond These Shores, the band's third album, was released in 1993 and included guest musician Robert Fripp. The album was loosely based on the legendary voyage of St. Brendan to the Americas before Christopher Columbus; the band did not intend for it to be viewed strictly as a "concept album".

Journey into the Morn was released in 1995, a more accessible and rock-oriented album loosely based on the hymn "Be Thou My Vision". It is sung in Gaelic at the beginning of the album and again near the end. Máire Brennan, the lead singer of Celtic and new-age band Clannad, was brought in to help Hogg with the Gaelic pronunciation; Brennan also sang backup vocals.

Two live albums followed in the late 1990s: the double-disc Heaven's Bright Sun and Woven Cord, which was performed with the All Souls Orchestra. Between these two albums Teri Bryant departed, and Frank van Essen returned, playing drums as well as violin. Frank van Essen is featured on the band's 2000 album, Open Sky.

After being released from their U.S. contract with ForeFront Records and their U.K. contract with Alliance Records, Iona formed Open Sky Records to release material independently. The first new release on the label was the 2002 box set The River Flows, which featured their then-out-of-print first three albums (all remastered and several first album tracks were even re-recorded), as well as a fourth disc of unreleased tracks and rarities called Dunes. The first three albums have since been re-released individually with new cover art.

Next the group was in semi-hiatus for nearly a decade. A two-disc live DVD Iona: Live in London was released in April 2006. It features a 5.1 Dolby Digital Surround mix by John Kellogg, who is from Los Angeles. In November 2006 came the release of a new studio album: The Circling Hour.

In June 2009 Troy Donockley announced that he was leaving Iona. A message on his website said: "I have had a wonderful time with my friends in Iona and am very, very proud of the albums we made together. But, as in all life, things change. After extended periods of no activity we have found ourselves with a very different musical and philosophical direction. We have parted as great friends should, with a sad-happiness and I wish the band all the very best wishes for the future".

Donockley went on to become a member of punk and folk band The Bad Shepherds; he has played in Barbara Dickson's band for a number of years and is the band's musical director as well as playing with Finnish symphonic metal band Nightwish, with whom he has made many guest appearances both live and on their albums over recent years, before joining them as a full-time member in October 2013. He has been replaced in Iona by piper and woodwind player Martin Nolan.

In June 2010, Iona went to the United States for their first tour there in nine years. On 19 June 2010, they played a very well received concert at NEARfest, a progressive rock festival in Bethlehem, Pennsylvania; during the show they introduced new songs for an album, Another Realm, which was released in 2011 and is their final album. After several concerts throughout the U.S. and one in Canada, they ended the tour at Cornerstone Festival, a Christian music festival in Illinois, on 30 June.On Dec. 11, 2016, the band announced on its Facebook page that it was suspending recording and touring as a group, citing other commitments. "We do not know what will happen in future years, whether we will get together again as Iona," the band said. "The door will remain open, but for the foreseeable future, the next and exciting chapters of our journey will involve other avenues." In March 2024, Bainbridge announced that he would join with Sally Minnear to perform Iona music as a duo on a UK tour in July.

First incarnation

 * David Fitzgerald – saxophones, flutes, recorder, tin whistle
 * Dave Bainbridge – keyboards, electric guitar

Trio

 * Joanne Hogg – lead vocals, keyboards
 * David Fitzgerald – saxophones, flutes, recorder, tin whistle
 * Dave Bainbridge – keyboards, electric guitar

First album

 * Joanne Hogg – lead vocals, keyboards
 * David Fitzgerald – saxophones, flutes, recorder, tin whistle
 * Dave Bainbridge – keyboards, electric guitar
 * Terl Bryant – drums
 * Tim Harries – bass
 * Troy Donockley – pipes, whistles, flutes
 * Peter Whitfield – strings

Final members

 * Joanne Hogg – lead vocals, keyboards, acoustic guitar
 * Dave Bainbridge – lead guitar, keyboards
 * Martin Nolan – pipes, whistles, flutes
 * Phil Barker – bass
 * Frank van Essen – drums, percussion, violin

Studio recordings

 * Iona (1990)
 * The Book of Kells (1992)
 * Beyond These Shores (1993)
 * Journey into the Morn (1996)
 * Open Sky (2000)
 * The Circling Hour (2006)
 * Another Realm (2011)

Live recordings

 * Heaven's Bright Sun (1997)
 * Woven Cord (1999 – featuring the All Souls Orchestra)
 * Live in London (2008)
 * Edge of the World: Live in Europe (2013)

Collection

 * Treasures (or The Very Best Treasures) (1996)

Box set

 * The River Flows: Anthology (2002 - four-CD box-set)
 * The Book of Iona (2020 - seventeen-CD box-set)

Other collaborations

 * Various Artists - Songs for Luca (2003)
 * Various Artists - Songs for Luca 2 (2007)

Videography

 * Iona, DVD (2004) very early live concert
 * Live in London, DVD (2006)

title: Iona (band)


text:
Rephlex Records

Rephlex Records was a record label launched in 1991 in Cornwall by electronic musician Richard D. James (aka Aphex Twin) and Grant Wilson-Claridge. The label coined the term braindance to describe the output of Aphex Twin and fellow artists.

History
In 1989, Grant Wilson-Claridge met Richard D. James (a.k.a. Aphex Twin) DJing at The Bowgie, a club located just along the coast from Newquay, Cornwall. According to Wilson-Claridge, back in 1989, "the Bowgie was the best club ever...this was before Newquay turned into the Cornish Ibiza" and it was very difficult to hear new and interesting music. Wilson-Claridge and James used to DJ on alternate weeks. When he noticed that James was playing his own tapes rather than records, Wilson-Claridge suggested that they press up some records. In the beginning, committing Aphex Twin recordings to vinyl was a way of making music the duo's friends wanted to hear. Due to their geographical dis-location they did not have access to the music they wanted to hear and so they decided to create their own, and Rephlex as a label was born. Although the label was founded in 1991 in Cornwall, it moved the year after to London.

On a post to an internet newsgroup in 1992, the label stated that its intent was to "promote Innovation in the dynamics of Acid" – a much loved and misunderstood genre of house music" and to "demonstrate to the rest of the world that British dance music can be entirely original".

Rephlex has released the music of many electronic artists, among them Mike Paradinas, DMX Krew, Luke Vibert, Aleksi Perälä and Squarepusher. The label has also remastered and re-released the early works of 808 State and the Future Sound of London, and relaunched the career of electronic duo producers Black Devil with a re-release of their first record.

In 2014, James announced the closing of Rephlex Records. He stated that the closure was "something that needed to be done a long time ago. Me and my friend would have drifted apart, but actually the label did keep us together. It got to a point where I’d actually rather be his friend than be in business with him."

Roster

 * 808 State
 * Arpanet
 * Baby Ford
 * Black Devil
 * Bochum Welt
 * Bodenstandig 2000
 * Brian Dougans
 * The Bug
 * Ceephax Acid Crew
 * Chimera
 * The Criminal Minds
 * Cylob
 * D'Arcangelo
 * Dabrye
 * DMX Krew
 * Dopplereffekt
 * Drexciya
 * Ensemble
 * EOD
 * The Gentle People
 * Global Goon
 * hecker
 * Richard D. James (including releases as AFX, Aphex Twin, Bradley Strider, Caustic Window, and The Tuss )
 * Jodey Kendrick
 * JP Buckle
 * Kosmik Kommando
 * Leila
 * The Lisa Carbon Trio
 * Ovuca (including releases as Aleksi Perälä)
 * P.P. Roy
 * Bogdan Raczynski
 * Seefeel
 * Squarepusher (including releases as Chaos A.D.)
 * Urban Tribe
 * Universal Indicator (collective)
 * μ-Ziq
 * Wisp
 * Luke Vibert (including releases as Amen Andrews)
 * Vulva
 * Yee-King

title: Rephlex Records