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British Union of Fascists

The British Union of Fascists (BUF) was a British fascist political party formed in 1932 by Oswald Mosley. Mosley changed its name to the British Union of Fascists and National Socialists in 1936 and, in 1937, to the British Union. In 1939, following the start of the Second World War, the party was proscribed by the British government and in 1940 it was disbanded.

The BUF emerged in 1932 from the electoral defeat of its antecedent, the New Party, in the 1931 general election. The BUF's foundation was initially met with popular support, and it attracted a sizeable following, with the party claiming 50,000 members at one point. The press baron Lord Rothermere was a notable early supporter. As the party became increasingly radical, however, support declined. The Olympia Rally of 1934, in which a number of anti-fascist protestors were attacked by the paramilitary wing of the BUF, the Fascist Defence Force, isolated the party from much of its following. The party's embrace of Nazi-style antisemitism in 1936 led to increasingly violent confrontations with anti-fascists, notably the 1936 Battle of Cable Street in London's East End. The Public Order Act 1936, which banned political uniforms and responded to increasing political violence, had a particularly strong effect on the BUF whose supporters were known as "Blackshirts" after the uniforms they wore.

Growing British hostility towards Nazi Germany, with which the British press persistently associated the BUF, further contributed to the decline of the movement's membership. The party was finally banned by the British government on 23 May 1940 after the start of the Second World War, amid suspicion that its remaining supporters might form a pro-Nazi "fifth column". A number of prominent BUF members were arrested and interned under Defence Regulation 18B.

Background
Oswald Mosley was the youngest elected Conservative MP before crossing the floor in 1922, joining first Labour and, shortly afterward, the Independent Labour Party. He became Chancellor of the Duchy of Lancaster in Ramsay MacDonald's Labour government, advising on rising unemployment.

In 1930, Mosley issued his Mosley Memorandum, which fused protectionism with a proto-Keynesian programme of policies designed to tackle the problem of unemployment, and he resigned from the Labour Party soon after, in early 1931, when the plans were rejected. He immediately formed the New Party, with policies based on his memorandum. The party won 16% of the vote at a by-election in Ashton-under-Lyne in early 1931; however, it failed to achieve any other electoral success.

During 1931, the New Party became increasingly influenced by fascism. The following year, after a January 1932 visit to Benito Mussolini in Italy, Mosley's own conversion to fascism was confirmed. He wound up the New Party in April, but preserved its youth movement, which would form the core of the BUF, intact. He spent the summer that year writing a fascist programme, The Greater Britain, and this formed the basis of policy of the BUF, which was launched on 1 October 1932 at 12 Great George Street in London.

Early success and growth
The BUF claimed 50,000 members at one point, and the Daily Mail, running the headline "Hurrah for the Blackshirts!", was an early supporter. The first Director of Propaganda, appointed in February 1933, was Wilfred Risdon, who was responsible for organising all of Mosley's public meetings. Despite strong resistance from anti-fascists, including the local Jewish community, the Labour Party, the Independent Labour Party and the Communist Party of Great Britain, the BUF found a following in the East End of London, where in the London County Council elections of March 1937, it obtained reasonably successful results in Bethnal Green, Shoreditch and Limehouse, polling almost 8,000 votes, although none of its candidates was elected. The BUF did elect a few councillors at local government level during the 1930s (including Charles Bentinck Budd (Worthing, Sussex), 1934; Ronald Creasy (Eye, Suffolk), 1938) but did not win any parliamentary seats. Two former members of the BUF, Major Sir Jocelyn Lucas and Harold Soref, were later elected as Conservative Members of Parliament (MPs).

Having lost the funding of newspaper magnate Lord Rothermere, that it had previously enjoyed, at the 1935 general election the party urged voters to abstain, calling for "Fascism Next Time". There never was a "next time" as the next general election was not held until July 1945, five years after the dissolution of the BUF.

Towards the middle of the 1930s, the BUF's violent clashes with opponents began to alienate some middle-class supporters, and membership decreased. At the Olympia rally in London, in 1934, BUF stewards violently ejected anti-fascist disrupters, and this led the Daily Mail to withdraw its support for the movement. The level of violence shown at the rally shocked many, with the effect of turning neutral parties against the BUF and contributing to anti-fascist support. One observer claimed: "I came to the conclusion that Mosley was a political maniac, and that all decent English people must combine to kill his movement."

In Belfast in April 1934 an autonomous wing of the party in Northern Ireland called the "Ulster Fascists" was founded. The branch was a failure and became virtually extinct after less than a year in existence. It had ties with the Blueshirts in the Irish Free State and voiced support for a United Ireland, describing the partition of Ireland as "an insurmountable barrier to peace, and prosperity in Ireland". Its logo combined the fasces with the Red Hand of Ulster.

Decline and legacy
The BUF became more antisemitic over 1934–35 owing to the growing influence of Nazi sympathisers within the party, such as William Joyce and John Beckett, which provoked the resignation of members such as Robert Forgan. This antisemitic emphasis and these high-profile resignations resulted in a significant decline in membership, dropping to below 8,000 by the end of 1935, and, ultimately, Mosley shifted the party's focus back to mainstream politics. There were frequent and continuous violent clashes between BUF party members and anti-fascist protesters, most famously at the Battle of Cable Street in October 1936, when organised anti-fascists prevented the BUF from marching through Cable Street. However, the party later staged other marches through the East End without incident, albeit not on Cable Street itself.

BUF support for Edward VIII and the peace campaign to prevent a second World War saw membership and public support rise once more. The government was sufficiently concerned by the party's growing prominence to pass the Public Order Act 1936, which banned political uniforms and required police consent for political marches.

In 1937, William Joyce and other Nazi sympathisers split from the party to form the National Socialist League, which quickly folded, with most of its members interned. Mosley later denounced Joyce as a traitor and condemned him for his extreme antisemitism. The historian Stephen Dorril revealed in his book Blackshirts that secret envoys from the Nazis had donated about £50,000 to the BUF.

By 1939, total BUF membership had declined to just 20,000. On 23 May 1940, Mosley and some 740 other party members were interned under Defence Regulation 18B. The BUF then called on its followers to resist invasion, but it was declared unlawful on 10 July 1940 and ceased its activities.

After the war, Mosley made several unsuccessful attempts to return to political life, one such being through the Union Movement, but he had no successes.

Relationship with the suffragettes
Attracted by ‘modern’ fascist policies, such as ending the widespread practice of sacking women from their jobs on marriage, many women joined the Blackshirts – particularly in economically depressed Lancashire. Eventually women constituted one-quarter of the BUF's membership.

In a January 2010 BBC documentary, Mother Was A Blackshirt, James Maw reported that in 1914 Norah Elam was placed in a Holloway Prison cell with Emmeline Pankhurst for her involvement with the suffragette movement, and, in 1940, she was returned to the same prison with Diana Mosley, this time for her involvement with the fascist movement. Another leading suffragette, Mary Richardson, became head of the women's section of the BUF.

Mary Sophia Allen OBE was a former branch leader of the West of England Women's Social and Political Union (WSPU). At the outbreak of the First World War, she joined the Women Police Volunteers, becoming the WPV Commandant in 1920. She met Mosley at the January Club in April 1932, going on to speak at the club following her visit to Germany, "to learn the truth about of the position of German womanhood".

The BBC report described how Elam's fascist philosophy grew from her suffragette experiences, how the British fascist movement became largely driven by women, how they targeted young women from an early age, how the first British fascist movement was founded by a woman, and how the leading lights of the suffragettes had, with Oswald Mosley, founded the BUF.

Mosley's electoral strategy had been to prepare for the election after 1935, and in 1936 he announced a list of BUF candidates for that election, with Elam nominated to stand for Northampton. Mosley accompanied Elam to Northampton to introduce her to her electorate at a meeting in the Town Hall. At that meeting Mosley announced that "he was glad indeed to have the opportunity of introducing the first candidate, and ... [thereby] killed for all time the suggestion that National Socialism proposed putting British women back into the home; this is simply not true. Mrs Elam [he went on] had fought in the past for women's suffrage ... and was a great example of the emancipation of women in Britain."

Former suffragettes were drawn to the BUF for a variety of reasons. Many felt the movement's energy reminded them of the suffragettes, while others felt the BUF's economic policies would offer them true equality – unlike its continental counterparts, the movement insisted it would not require women to return to domesticity and that the corporatist state would ensure adequate representation for housewives, while it would also guarantee equal wages for women and remove the marriage bar that restricted the employment of married women. The BUF also offered support for new mothers (due to concerns of falling birth rates), while also offering effective birth control, as Mosley believed it was not in the national interest to have a populace ignorant of modern scientific knowledge. While these policies were motivated more out of making the best use of women's skills in state interest than any kind of feminism, it was still a draw for many suffragettes.

Prominent members and supporters
Despite the short period of its operation the BUF attracted prominent members and supporters. These included:
 * Mary Sophia Allen was a suffragette.
 * William Edward David Allen was previously Unionist Member of Parliament for Belfast West. Material in the National Archive shows that Allen acted as an MI5 agent within the BUF.
 * John Beckett was previously Labour Member of Parliament for Peckham.
 * Frank Bossard was an officer in the RAF and, after the war, a Soviet spy.
 * Patrick Boyle, 8th Earl of Glasgow was a member of the House of Lords.
 * Malcolm Campbell was a racing motorist and motoring journalist.
 * A. K. Chesterton was a journalist.
 * Lady Cynthia Curzon (known as 'Cimmie') was the second daughter of George Curzon, Lord Curzon of Kedleston, and the wife of Oswald Mosley until her death in 1933.
 * Norah Elam was a suffragette.
 * Robert Forgan was previously Labour Member of Parliament for West Renfrewshire.
 * Major General John Frederick Charles Fuller was a military historian and strategist.
 * Billy Fullerton was leader of the Billy Boys gang from Glasgow.
 * Arthur Gilligan was the captain of the England cricket team.
 * Reginald Goodall was an English conductor.
 * Group Captain Louis Greig was a British naval surgeon, courtier and intimate of King George VI.
 * Jeffrey Hamm was a prominent member and later Mosley's personal secretary.
 * Harold Sidney Harmsworth, 1st Viscount Rothermere, was the owner of the Daily Mail and a member of the House of Lords.
 * Neil Francis Hawkins was leader of the Blackshirts.
 * Josslyn Hay, 22nd Earl of Erroll, was a member of the House of Lords.
 * William Joyce, later nicknamed 'Lord Haw-Haw', became naturalized as a German citizen and broadcast pro-Nazi propaganda from German territory.
 * Ted "Kid" Lewis was a Jewish boxing champion; he left the party after it became overtly antisemitic.
 * David Freeman-Mitford, 2nd Baron Redesdale, was a member of the House of Lords. His wife, Lady Redesdale, and two of his daughters were also members:
 * Diana Mitford (Lady Mosley, after her marriage to Sir Oswald Mosley in 1936)
 * Unity Mitford was an associate of Hitler.
 * Tommy Moran was a BUF leader in Derby and later south Wales.
 * Mary Richardson was a suffragette and head of the BUF's women's section.
 * Sir Alliott Verdon Roe was a pilot and businessman.
 * Edward Frederick Langley Russell, 2nd Baron Russell of Liverpool, was a member of the House of Lords.
 * His wife Lady Russell was also a member.
 * Edward Russell, 26th Baron de Clifford, was a member of the House of Lords.
 * Hastings Russell, 12th Duke of Bedford, was a member of the House of Lords.
 * Alexander Raven Thomson was the party's Director of Public Policy.
 * Theodore Schurch, a Nazi collaborator who became the last person executed in the United Kingdom for a crime other than murder.
 * Frank Cyril Tiarks, of German extraction, was a banker, a Director of the Bank of England and a prominent member of the Anglo-German Fellowship.
 * His wife, Emmy née Brödermann, was also a member.
 * Frederick Toone was the manager of the England cricket team and Yorkshire Cricket Club.
 * Henry Williamson was a writer, best known for his 1927 work Tarka the Otter.

In popular culture

 * The Channel 4 television serial Mosley (1998) portrayed the career of Oswald Mosley during his years with the BUF. The four-part series was based on the books Rules of the Game and Beyond the Pale, written by his son Nicholas Mosley.
 * In the film It Happened Here (1964), the BUF appears to be the ruling party of German-occupied Britain. A Mosley speech is heard on the radio in the scene before everyone goes to the cinema.
 * The first depiction of Mosley and the BUF in fiction occurred in Aldous Huxley's novel Point Counter Point (1932), in which Mosley is depicted as Everard Webley, the murderous leader of the "BFF", the Brotherhood of Free Fascists; he comes to a nasty end.
 * The BUF has been featured in several novels by Harry Turtledove.
 * In his alternative history novel In the Presence of Mine Enemies, set in 2010 in a world in which the Nazis were triumphant, the BUF led by Prime Minister Charlie Lynton governs Britain. It is here that the first stirrings of the reform movement appear.
 * In the Southern Victory series, set in a reality in which the Confederate States of America became independent and the Central Powers (including the United States) won that reality's analogue of the First World War, the "Silver Shirts" (analogous to the BUF) entered into a coalition with the Conservatives who were led by Churchill with Mosley being appointed Chancellor of the Exchequer.
 * The BUF and Mosley also appear as background influences in Turtledove's Colonization trilogy which follows the Worldwar tetralogy and is set in the 1960s.
 * James Herbert's novel '48 (1996) has a protagonist who is hunted by BUF Blackshirts in a devastated London after a biological weapon is released during the Second World War. The history of the BUF and Mosley is recapitulated.
 * In Ken Follett's novel Night Over Water, several of the main characters are BUF members. In his book Winter of the World, the Battle of Cable Street plays a role and some of the characters are involved in either the BUF or the anti-BUF organisations.
 * The BUF also appears in Guy Walters' book The Leader (2003), in which Mosley is the dictator of Britain in the 1930s.
 * The British humorous writer P. G. Wodehouse satirized the BUF in books and short stories. The BUF was satirized as "The Black Shorts", rather than "shirts", because all of the best shirt colours were already taken. Its leader was Roderick Spode, the owner of a ladies' underwear shop.
 * The British novelist Nancy Mitford satirized the BUF and Mosley in Wigs on the Green (1935). Diana Mitford, the author's sister, had been romantically involved with Mosley since 1932.
 * In the 1992 Acorn Media production of Agatha Christie's One, Two, Buckle My Shoe with David Suchet and Philip Jackson, one of the supporting characters (played by Christopher Eccleston) secures a paid position as a rank-and-file member of the BUF.
 * The BUF and Oswald Mosley are alluded to in Kazuo Ishiguro's novel The Remains of the Day.
 * The BUF and Mosley are shown in the BBC version of Upstairs, Downstairs (2010) in which two of the characters are BUF supporters.
 * The Pogues' song "The Sick Bed of Cuchulainn", from their album Rum Sodomy & the Lash (1985), refers to the BUF in its second verse with the line "And you decked some fucking blackshirt who was cursing all the Yids".
 * Ned Beauman's first novel, Boxer, Beetle (2010), portrays the Battle of Cable Street.
 * C. J. Samson's novel Dominion (2012) has Sir Oswald Mosley as Home Secretary in a "post-Dunkirk peace with Germany alternate history thriller" set in 1952. Lord Beaverbrook is Prime Minister of an authoritarian coalition government. Blackshirts tend to be auxiliary policemen.
 * In the film The King's Speech (2010), a brief shot shows a brick wall in London plastered with posters, some of them reading "Fascism is Practical Patriotism" and others reading "Stand by the King". Both sets of posters were put up by British Blackshirts, who supported King Edward VIII. Edward was suspected of fascist leanings.
 * Sarah Phelps used the British Union of Fascists' insignia as a theme in her 2018 BBC One adaptation of Agatha Christie's The A.B.C. Murders.
 * Amanda K. Hale's novel Mad Hatter (2019) features her father James Larratt Battersby as a member of the BUF.
 * Mosley was portrayed by Sam Claflin in Series 5 and 6 of the BBC show Peaky Blinders as the founder of the BUF.
 * The legacy of BUF is a theme of the final episode of season 8 of the detective series Father Brown.

title: British Union of Fascists


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Talk:Dolly zoom

Untitled
Also known as a "retro zoom." In fact, retro zoom is the only term I recall having ever heard used and I have been in the film/video post-production industry for 30+ years.

- — Preceding unsigned comment added by 96.78.34.10 (talk) 20:11, 3 April 2019 (UTC) Is this the same thing as "zoom in, dolly out"? (or is that "zoom out, dolly in"?) As seen repeatedly in (ugh) Home Alone, etc.? -- DrBob

 * One of those two, yes. To tell whether it's being tracked back & zoomed in or tracked forward & zoomed out, keep an eye on the background.  If you end up with a wider view of the background & it looks farther away, it's been zoomed out (you've gone from telephoto to wide angle).  I think that's how it's mostly done but I haven't watched any of the films specifically to find out which it is.  Koyaanis Qatsi 21:02 Jan 31, 2003 (UTC)

Does anyone have a set of (say) three still JPGs which demonstrate this effect? -- SGBailey
 * perspective distortion Koyaanis Qatsi

I've never heard of this as "Hitchcock zoom". To me it's always been zido, or the "Jaws shot". Outside of Vertigo, I would have thought Jaws was the most famous use of this technique. --Attila the Pooh 15:57, 28 Apr 2004 (UTC)

 * Yes, but it was first used in Vertigo, which is itself quite famous. Adopted later by many directors, both good and bad, but that's a different matter.  :-)  Koyaanis Qatsi

Isn't Dolly Zoom more appropriate?
The term used for this in the film industry is dolly-zoom. I'm a cinematographer by trade and I've never heard of a Hitchcock Zoom. I believe that Hitchcock was the first to do it but I don't think that his name stayed attached to it in common language. I think this page should be moved to dolly zoom. --Plowboylifestyle 03:46, 11 Mar 2005 (UTC)

Okay it been almost a week, I'm doing it... --Plowboylifestyle 09:30, 16 Mar 2005 (UTC)

I've known this as the "Vertigo Shot," something also used by the special effects team of The Matrix: Reloaded. Dolly zoom seems more appropriate, though, as long as "Vertigo shot" redirects here, which it did. 67.185.99.246 22:29, 3 June 2006 (UTC)

Irmin Roberts, a Paramount second-unit cameraman
Can anyone verify who invented the shot? And if the dolly zoom was in fact used in Hitchcock's Spellbound?

> Quoting a blog is probably insufficient to edit the article, and since the blogger himself didn't edit it, I assume he felt his evidence insufficient. However, FWIW, from http://www.charlespetzold.com/blog/2007/03/070716.html "(Wikipedia has a Dolly Zoom article that indicates the technique "appeared earlier at the climax to [Hitchcock's] film Spellbound," which dates from 1945. This is just plain wrong: The relevant scene in Spellbound is at 1:38:22 on the DVD and only looks like a dolly zoom if you don't know the boy is moving relative to the background. The camera is following the moving boy, so of course the background recedes, and there's nothing special about it. I suspect this particular shot was done with rear-screen projection.)" - so, not quite as good evidence as a Google video clip, but at least there's a time stamp to go off, for anyone who's got the video. DewiMorgan 15:18, 12 March 2007 (UTC)

I've deleted an incorrect portion of information: Romanian cinematographer Sergiu Huzum as being credited as "inventing" the method. Whomever wrote this did not reference correctly; the reference they used, does not even mention this Romanian cinematographer. In fact, at point 5, confirms the Vertigo affect was created by Irmin Roberts (see Indiewire 5 Things You Might Not Know About Alfred Hitchcock’s Masterpiece ‘Vertigo’). — Preceding unsigned comment added by 211.27.114.51 (talk) 17:54, 7 July 2017 (UTC)

A dolly zoom was used in Frank Capra's 'It's a Wonderful Life' from 1946, one year after 'Spellbound' but long before 'Vertigo'. It is used for the 'Welcome to Bailey Park' sign. — Preceding unsigned comment added by 2A02:8109:9A80:3E0:9DEE:D9E1:31FA:2108 (talk) 19:39, 25 September 2018 (UTC)

Battlestar Galactica
Battlestar Galactica is critically acclaimed and getting very popular; I am surprised that no one has mentioned that this effect is used when a ship uses its FTL drive.

> they dropped that after the mini-series. It worked very well though

Reverse use in The Incredibles
Its nice to know some alternative names that I can use to refer to this effect. I had called it the Vertigo Effect since I heard where it first came from, a wonderful film that I have a hard time believing the people who work in movies had not studied. I first saw it used in a car commercial, where to play up the fact that the car had four doors they use this effect that seems to make the car change size.

Its remarkable when used this way, but I have just learned a new wrinkle. It can also be used effectively in reverse. I learned this week while listening to the commentary on Pixar's "The Incredibles" that the opposite move, zooming in while tracking back, was used by Brad Bird during the scene where Helen, having just learned that Bob was fired some months ago and therefore is not at the conference he said he was going to that she becomes closer to Edna, who has a way of finding him.

The idea in this shot is that he wanted to show these two characters becoming closer, so though they were across the room he used a camera technique that tended to incrementally decrease the perception of depth.

A bow of respect to Brad Bird and the camera animator at Pixar who achieved this shot with a novel inversion of the Vertigo Effect. I have never heard of this variation being used anywhere before.

Brad Bird, who went to Cal Arts with John Lasseter, explicitly credits the invention of the camera move to Hitchcock and Vertigo. Commentary for Vertigo when I first saw it on cable on American Movie Classics also claims that the camera technique originated there.

The effect can be simulated with virtual cameras in 3D animation software, and I have tried to do so since I first learned how it was done. There is a description of the technique on the Siggraph websites under www.siggraph.org/education. Where many of the same terms are attributed to it as are listed in this Wikipedia article, including Vertigo Shot.

I have never been happy with the results of my attempts to simulate it though. There always seems to be some moment where the effect stops or reverses in the middle. I have always susupected that there is some nuance in the relationship between the move and the zoom that requires some specific ratio between the effects or else that I have to fiddle with the motion curves. I begin to suspect now though that it is more a matter of practice and control.

Though the behavior of virtual cameras in 3D animation is very similar to actual cameras 3D cameras do not produce any barrel distortion. To put it another way, in virtual cameras perspective is always linear, never curvilinear. I don't believe that this has any consequences for the effect under discussion though.

-Greg Banville

Picture
Is it just me, or is that picture really annoying Gohst 01:52, 23 August 2006 (UTC)
 * It's annoying. Someone should make an animated gif of the Jaws or Vertigo shot. Best examples.--Cammoore 05:09, 23 August 2006 (UTC)
 * yeah, the vertigo shot is iconic- that is the one that should be used. Borisblue 06:14, 6 December 2006 (UTC)
 * The Quick and the Dead has some great examples of this shot, also. --Stripes 16:46, 26 January 2007 (UTC)

Unprintable article
I was under the impression that articles are meant to be printable. The use of an animated GIF breaks this. I suggest the frames are extracted from this animation and shown as part of the article. -- Andreas Toth (talk)00:45, 30 July 2007 (UTC).

Please remember to sign your posts. There are plenty of other Wikipedia articles that contain animated GIF images. Further, someone new to the topic would find sufficient explanation in the text alone, without the animation. Since it's been almost a year since your comment, I guess it's a dead issue. -- 210.11.135.5 (talk) 05:49, 26 May 2008 (UTC)

Actual origins
Hey, I just found this article, and there seem to be a few misconceptions. The article claims that the technique was developed in the 50's with Vertigo, but there are cases of the technique being used as early as the 1920's. (For instance, I distinctly remember the technique being used in Fitz Lang's Metropolis, which was released in 1927. Does anyone have more info on this? Rwiggum  (Talk /Contrib ) 23:37, 8 September 2008 (UTC)
 * A time or scene index would be a helpful reference. If this turns out to be the case, the article could be changed to state that the effect was popularized by its dramatic use in the film Vertigo ...Fredmdbud (talk) 04:55, 9 September 2008 (UTC)
 * Hmm, that could be a problem. I saw the film a few years ago, and the version I saw was the ultra-rare Moroder cut, so getting a specific time would be difficult. However, if it helps at all, I know that it's the scene where Freder finds Maria's handkerchief. In the meantime, I'll look for some uses.  Rwiggum  (Talk /Contrib ) 06:10, 9 September 2008 (UTC)
 * Okay, I've found a few sources we may be able to use, but nothing totally concrete as of yet. here and here. I'm still looking for footage, though.  Rwiggum  (Talk /Contrib ) 06:50, 9 September 2008 (UTC)
 * I found it! The clip itself is a fan-made music video, but the footage itself is from the film. The video is here, and the scene is at about the 2:43 mark. Rwiggum (Talk /Contrib ) 07:13, 9 September 2008 (UTC)

small point RE, MATH
MATH as used in a the section title, isn't really a universal term for the word as such, although it doesn't make it difficult to understand i would suggest it was changed to something such as Mathematically, or something similar.

Propose new section: Examples
The Purpose of the effect section seems to contain a lot of examples, and I wonder if these could be split off into a separate Notable uses section?

 * Done. (I did it before even seeing this comment.)  Now it would be good to explain in each example why it's notable.  The Lion King is notable because it is an animated simulation of a camera shot.  Jaws is notable because it popularized the shot for dramatic purposes.  I'm going to add a link to the TV Tropes article "Vertigo effect" for a laundry list of less notable uses. --BlueNight (talk) 17:02, 14 November 2009 (UTC)

 * @BlueNight I agree. The current examples paragraph could benefit from a list of film title, year, cinematographor, scene description. Vertigo, Jaws, all the way to Silent Moon. Theking2 (talk) 20:37, 17 July 2022 (UTC)

Michael Jackson & Thriller
My memories are dim, but I recall somehow that the mentioned shot in the video "Thriller" wasn't actually a dolly shot. At least not strictly as described in the article.

What I recall was that Michael Jackson was not stationary during the shot, but stood on a mobile platform. This might make sense if the camera stood on the same platform. This might relieve the cameraman from the task of adjusting focus and zoom during the dolly ride.

Anyway, my memories concerning this specific shot are really dim. I guess there's a "making-of" documentary of Thriller. Perhaps someone feels the urge to track it down and verify it?

If my memory is correct, would the described technique need to be described as a similar method to the "real dolly zoom"? --Klaws (talk) 16:47, 5 March 2010 (UTC)

There is mention of The Lion King and the close up shot of Simba. To me, that wouldn't be a Dolly Zoom since there was no camera and no ACTUAL subject or background of which to change the perspective. Since The Lion King was DRAWN animation, I doubt that even a computer did much of it. donkeyk578@aol.com —Preceding unsigned comment added by 70.63.111.34 (talk) 08:45, 18 June 2010 (UTC)

 * Lion King was animated using the computerised CAPS system, which used both digital ink and a multiplane camera simulation. So, basically, yes, a computer did *all* of it.

 * In any case, does it really matter if it's a simulation or a 'real' dolly zoom if it achieves the same effect? -MarkKB (talk) 04:20, 6 September 2012 (UTC)

New video
I've just added a newly created video with a dolly zoom to the article. I would like to improve this video and am looking for suggestions on how to do so. Useful feedback could include: You can leave comments here or go to commons:File talk:DollyZoomTest.ogv Thanks. GDallimore (Talk) 16:09, 8 October 2010 (UTC)
 * 1) Whether there is a better range of movement/angle of view to show of the technique to its best effect.
 * 2) What background/foreground objects could be used and in what arrangement.
 * 3) Colour schemes and other artistic rather than technical suggestions.

Hitchcock
If anyone wants to incorporate this into the article, Alfred Hitchcock spoke to François Truffaut about the genesis of the effect in Truffaut's book of interviews with the director: "I always remember one night at the Chelsea Arts Ball at Albert Hall in London when I got terribly drunk and I had the sensation that everything was going far away from me. I tried to get that into Rebecca, but they couldn't do it. The viewpoint must be fixed, you see, while the perspective is changed as it stretches lengthwise." (Hitchcock/Truffaut, page 246) Davepattern (talk) 11:18, 2 March 2014 (UTC)
 * Anyone can edit this article. You might find citation useful for referencing the book and I suggest trying to work this anecdote into the existing prose seamlesly rather than just tacking it onto the end. Happy editing! GDallimore (Talk) 18:08, 2 March 2014 (UTC)

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Examples

 * The Commuter (film) at 26:50

Alternative Names section
The "Alternative Names" section is out of hand, with many variations and almost no sources. It was tagged eight months ago for additional sources, but nothing yet. And some what does have a citation is not properly marked (neither cite for "Hunter shot" uses that term, both calling it a "Vertigo shot". I'm going to clean it up, remove anything unsourced.  If you can find a source for any of these terms, please add it back in.  SixFourThree (talk) 20:14, 17 June 2020 (UTC)SixFourThree

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Richard Thompson (musician)

Richard Thompson (born 3 April 1949) is an English singer, songwriter, and guitarist.

Thompson first gained prominence in the late 1960s as the lead guitarist and songwriter for the folk rock group Fairport Convention, which he had co-founded in 1967. After departing the group in 1971, Thompson released his debut solo album Henry the Human Fly in 1972. The next year, he formed a duo with his wife Linda Thompson, which produced six albums, including the critically acclaimed I Want to See the Bright Lights Tonight (1974) and Shoot Out the Lights (1982). After the dissolution of the duo, Thompson revived his solo career with the release of Hand of Kindness in 1983. He has released eighteen solo studio albums. Three of his albumsRumor and Sigh (1991), You? Me? Us? (1996), and Dream Attic (2010)have been nominated for Grammy Awards, while Still (2015) was his first UK Top Ten album. He continues to write and record new material and has frequently performed at venues throughout the world, although the COVID-19 pandemic forced him to suspend his touring.

Music critic Neil McCormick described Thompson as "a versatile virtuoso guitarist and a sharp observational singer-songwriter whose work burns with intelligence and dark emotion". His songwriting has earned him an Ivor Novello Award and, in 2006, a lifetime achievement award from BBC Radio. His 1991 song "1952 Vincent Black Lightning" was included in Time magazine's "All-TIME 100 Songs" list of the best English-language musical compositions released between 1923 and 2011. Thompson was appointed Officer of the Order of the British Empire (OBE) in the 2011 New Year Honours for services to music. Many varied musicians have recorded Thompson's compositions.

In 2021, his book Beeswing: Losing My Way and Finding My Voice, 1967–1975 was published, mainly a memoir of his life as a musician from 1967 to 1975.

Early life and career (1949 to 1972)
Richard Thompson was born at 23 Ladbroke Crescent (off Ladbroke Grove), Notting Hill, West London, England. His father, a Scot, was a Scotland Yard detective and an amateur guitar player; several other family members had played music professionally. He was the younger brother, by five years, of sister Perri, who became and still is a fashion designer. While attending William Ellis School in Highgate, he formed his first band, Emil and the Detectives (named after a book and a movie by the same title), with classmate Hugh Cornwell, later lead singer and guitarist of the Stranglers, on bass guitar. When he was a teenager Thompson moved with his family to Whetstone, near the end of the underground's Northern line.

Interviewed in 2003, Thompson said: "Listening to Buddy Holly in 1956 was the point at which I wanted to pick up a guitar, although I didn't actually manage to do that until 1960 ... I played Shadows songs in school bands until I started hanging around with the guys that became Fairport Convention, and we would play Bob Dylan, Phil Ochs, Richard Fariña ... the American singer-songwriters. We would go to Dylan's publisher and ask for songs that hadn't been recorded. We were interested in lyrics, and we were pretty idealistic."

Like so many musicians of his generation, Thompson was exposed to and embraced rock and roll music at an early age, and he was also exposed to his father's jazz and traditional Scottish music record collection. His father had seen Django Reinhardt play in Glasgow in the 1930s and played guitar himself. He was later described by his son as "a bad amateur player ... with three chords, though, unfortunately, not C, F and G." All these musical genres were to colour Thompson's playing in the years to come.

American producer Joe Boyd said: "He can imitate almost any style, and often does, but is instantly identifiable. In his playing you can hear the evocation of the Scottish piper's drone and the melody of the chanter as well as echoes of Barney Kessel's and James Burton's guitars and Jerry Lee Lewis's piano. But no blues clichés."

At the age of 18 Thompson co-founded folk rock group Fairport Convention. Largely on the strength of Thompson's playing, Boyd took them under his wing and signed them to his Witchseason production and management company.

Boyd said: "And there was this group of very nice Muswell Hill grammar school boys and a girl playing American music. Leonard Cohen songs, and Richard Fariña songs, and Bob Dylan songs, all being done in a kind of West-Coasty rock style. And then came the guitar solo, and Richard just played the most amazing solo. He played a solo which quotes from Django, from Charlie Christian, you know, an incredibly sophisticated little solo. And that really amazed me, the breadth of his sophistication... and so, you know, at the end of the gig I was in the dressing room saying 'would you guys like to make a record?'"

Shortly thereafter Thompson, already acquiring a reputation as an outstanding guitar player, started writing songs seriously. This seems to have been out of necessity as Fairport Convention was at first essentially a cover band.

"I remember saying to Ashley [ Hutchings, bassist ] after a gig, that I was kind of embarrassed about doing the material we were doing, because it seemed that we should have outgrown doing covers – even though it was only 1967 – it somehow wasn't good enough and other bands were writing their own stuff and we should too. I remember being angry and saying to Ashley this isn't good enough, we've got to get some original material... and stuff started to trickle through."

By early 1969, when Fairport's second album What We Did on Our Holidays was recorded and released, Thompson was starting to emerge as a songwriter of distinction. As Fairport's lineup and their sound evolved, Thompson continued to grow in stature as a player and as a songwriter with compositions like "Meet on the Ledge".

On 12 May 1969, between the recording and release of their next album Unhalfbricking, Fairport's van crashed on the M1 motorway on the way home from a gig at Mothers, a club in Birmingham. Drummer Martin Lamble, aged 19, and Thompson's girlfriend Jeannie Franklyn were killed. The rest of the band suffered injuries of varying severity. Later in 1969, Fairport re-grouped with a new drummer, Dave Mattacks, and also invited the well known fiddle player, Dave Swarbrick, to join. Thompson and Swarbrick worked together to create songs such as "Crazy Man Michael" from the band's seminal 1969 folk-rock album Liege & Lief and "Sloth" from its 1970 follow-up Full House.

In January 1971, Thompson announced that he was leaving Fairport Convention. His decision was instinctive, rather than a calculated career move:

"I left Fairport as a gut reaction and didn't really know what I was doing, except writing. I was writing stuff and it seemed interesting and I thought it would be fun to make a record. And at the same time70–71I was doing a lot of session work as a way of avoiding any serious ideas about a career."

In April 1972, he released his first solo album Henry the Human Fly, recording with Sandy Denny, Pat Donaldson, Sue Draheim, John Kirkpatrick, Barry Dransfield, Ashley Hutchings, Linda Peters, Andy Roberts, and others. The album sold poorly and was panned by the press, especially the influential Melody Maker magazine. With time Henry has come to be more highly regarded, but at the time the critics' response hurt both Thompson and his career.

1970s: Richard and Linda Thompson
By the 1970s, Thompson had begun a relationship with the singer Linda Peters, who had sung on Henry the Human Fly. In October 1972 the couple were married at Hampstead Town Hall and honeymooned in Corsica. Thompson, with Linda now effectively his front woman, regrouped for his next album and the next phase of his career.

The first Richard and Linda Thompson album, I Want to See the Bright Lights Tonight, was recorded in May 1973 in short time and on a small budget. Largely because of the petrol shortage in Britain and its impact on the availability of vinyl for records, Bright Lights was held back by Island Records for nearly a year before being released in April 1974. The album was well received by critics, though sales were less than stellar.

Thompson's lyrics expressed a rather dismal world view, and it has been suggested that the bleak subject matter of his songs helped to keep his recordings off the hit parade. A more likely explanation was given by ex-Island A&R man Richard Williams in the 2003 BBC TV documentary Solitary Life: Thompson was just not interested in fame and its trappings.

The Thompsons recorded two more albums—Hokey Pokey and Pour Down Like Silver, both released in 1975—before Richard Thompson decided to leave the music business. The couple moved to a Sufi community in East Anglia.

It was not apparent from their records at first, but the Thompsons had embraced an esoteric Sufi strand of Islam in early 1974. I Want to See the Bright Lights Tonight was recorded before this conversion, but released some time afterwards. The songs for the second Richard and Linda album, Hokey Pokey, were similarly written some time ahead of the album's recording and eventual release. It was Pour Down Like Silver, with its cover photo of a turbaned Richard Thompson, that tipped the public off to the Thompsons' growing preoccupation with their faith.

The trilogy of albums released before and after his sojourn in the commune was heavily influenced by Thompson's beliefs and by Sufi scripture, but in the long run his religious beliefs have not influenced his work in an obvious manner. The outlook expressed in his songs, his musical style, the subjects addressed by his lyrics have not shown any fundamental change. He remains a committed Muslim.

Thompson started to re-engage with the world of professional music in 1977. He played on an album by Sandy Denny, and had undertaken a short tour and started recording with a group of musicians who were also Sufis. Thompson asked Joe Boyd to produce these sessions, and two days were spent on the initial recordings. Boyd recalls that the sessions were not a success: "It was really, I felt, very poor. I didn't have much confidence in the musicians that he was working with. The atmosphere was very strange and it just didn't seem to work."

At about this time the Thompsons and their family moved out of the commune and back to their old home in Hampstead. Boyd had already invited Richard Thompson to play on Julie Covington's debut album. With spare studio time and the American session musicians hired to work on the Covington album available, the Thompsons went back into the studio to record under their own name for the first time in three years.

The resulting album, First Light, was warmly received by critics but did not sell particularly well. Neither did its follow up, 1979's harder-edged and more cynical Sunnyvista. Chrysalis Records did not take up their option to renew the contract, and the Thompsons found themselves without one.

1980s
Gerry Rafferty had booked the Thompsons as the support act for his 1980 tour, and had also used Richard as a session player on his Night Owl album. Rafferty offered to finance the recording of a new Richard and Linda Thompson album which he would then use to secure a contract for the Thompsons. Richard Thompson fell out with Rafferty during this project and was not happy with the finished product. Nevertheless, Rafferty kept his side of the bargain and presented the album to several record companies – none of which expressed interest in signing the Thompsons. Rafferty did not recover his investment.

About a year later, Joe Boyd signed the Thompsons to his small Hannibal label and a new album was recorded. Shoot Out the Lights included new recordings of many of the songs recorded in 1980. Linda Thompson was pregnant at the time of the recording, so the album's release was delayed until they could tour behind the album. Breathing problems arising from her pregnancy also meant that Linda could not sing the lead part on some of these songs as she had done on demo tapes and the Rafferty-produced recordings.

As an interim measure, Richard Thompson agreed to a short (5-day), low-key solo tour of the U.S. This tour was set up by Nancy Covey, then concert director for McCabe's Guitar Shop in Santa Monica. Covey, who had been in the UK in 1981 trying to sign Thompson to play at McCabe's, arranged for Thompson well-received 5 and 6 December shows. It was during this tour that Thompson and Covey developed an intimate relationship, and during that month, Richard and Linda Thompson separated.

Upon its release in 1982, Shoot Out the Lights was lauded by critics and sold quite well – especially in the U.S.

The Thompsons, now a couple for professional purposes only, toured the United States in support of the album, their only American tour together. Both the album and their live shows were well received by the American media, and Shoot Out the Lights effectively relaunched their career – just as their marriage was falling apart. The performances, with a backing band including both Simon Nicol and Dave Mattacks of Fairport Convention, were seen as strong, but the tension between Richard and Linda was all too obvious. For this reason, the Thompsons' fans often refer to the Shoot Out the Lights tour as "The Tour from Hell". Upon returning home, Richard and Linda went their separate ways.

Richard Thompson continued recording as a solo artist. His 1983 album Hand of Kindness saw him working with Boyd again, but with a revised backing band and a more extroverted and up-tempo song selection.

With his separation from Linda finalized, Richard Thompson began to commute between twin bases in London and Los Angeles and to tour regularly in the USA. Encouraged by the success of his solo shows in late 1981 and early 1982, he began to perform solo with increasing frequency and continued to tour with a band. In 1983 and 1984, he toured the US and Europe with the Richard Thompson Big Band, which included two saxophone players in addition to the more usual rhythm section, second guitar and accordion. Set lists included covers of classic rock 'n roll songs and jazz standards such as "Tuxedo Junction".

In 1985, Thompson signed with PolyGram and received a sizeable advance. He and Nancy Covey married at an alcohol-free wedding that included a who's who of roots-music performers who Covey knew well from McCabe's and the Los Angeles music scene, and had introduced to Thompson. After their wedding, Thompson moved his home and working base to California. As part of the settlement that allowed Thompson to leave Boyd's Hannibal label for Polygram, the live album Small Town Romance was released. This comprised recordings made during Thompson's solo shows in the US in late 1981 and early 1982. Across a Crowded Room (1985) was his last album to be recorded in England and the last to have Boyd as producer. Thompson put together a new look backing band for the tour to promote this album, and some shows were filmed for a live video release (see Richard Thompson discography).

In 1986, he released Daring Adventures, which was recorded in Los Angeles and produced by Mitchell Froom. Daring Adventures, with a rich sound, markedly different production and use of American session players, was perceived by some as evidence of Thompson's increasing "Americanisation". Perhaps more significantly, the album continued the trend, begun with Across A Crowded Room, of Thompson's songs moving away from the seemingly personal material and towards the character sketches and narratives for which he has since become famous. Froom and PolyGram had plans to target college and the growing "alternative" markets with Daring Adventures. Sales improved, but not substantially. Polygram declined an option to renew the contract. Thompson's management negotiated a new deal with Capitol Records.

In 1985, Fairport Convention reformed and recorded the album Gladys' Leap. Thompson did not rejoin Fairport, but he did contribute a song to the project and played guitar on another track on the album.

1988 saw the release of Thompson's first album for Capitol, Amnesia. Froom was retained as producer, and once again the album was recorded in Los Angeles with many of the same players that Froom had called upon for the Daring Adventures sessions.

1990s
Thompson contributed music to BBC Northwest's documentary Hard Cash and appears on the eponymous accompanying album issued by Topic. A track from the album, Time To Ring Some Changes is included in the 2009 Topic Records 70-year anniversary boxed set Three Score and Ten as track thirteen on the sixth CD.

Thompson appears on Willie Nile's 1991 Places I Have Never Been album.

In 1991, Thompson recorded Rumor and Sigh, his second album for Capitol. Once again Froom produced. This album, particularly the acoustic guitar ballad "1952 Vincent Black Lightning", was hailed by critics and fans alike and greatly advanced Thompson's reputation as a leading traditional-style guitarist.

Rumor and Sigh was nominated for a Grammy and sold well. However, a shake-up at Capitol saw Hale Milgrim (Thompson's champion and fan within the boardroom) replaced by Garry Gersh. Thus, Thompson's next album Mirror Blue was held back for almost a year before being released.

Thompson was awarded the Orville H. Gibson Award for best acoustic guitar player in 1997.

In 1992, he performed with David Byrne. Their joint acoustic concert at St. Ann & The Holy Trinity in Brooklyn Heights, New York on 24 March, produced the album An Acoustic Evening, which was released the same year.

Mirror Blue was released in 1994, to often negative reviews sparked by the production decisions that Thompson and Froom took. Thompson took to the road to promote the album. He was joined by drummer Dave Mattacks, Danny Thompson (no relation) on double bass, and Pete Zorn on acoustic guitar, backing vocals, mandolin and various wind instruments. This line-up toured with Thompson the following two years.

Thompson continued recording for Capitol until 1999, when Mock Tudor was recorded and released. His deal with Capitol was modified so that he could release and directly market limited-quantity, live recorded, not-for-retail albums. The first of these was Live at Crawley, released in 1995.

2000s
In 2001, Thompson declined the option to renew his contract with Capitol.

Thompson appeared on his ex-wife Linda's studio album Fashionably Late on the song "Dear Mary". It was the first time the two had recorded together since Shoot Out the Lights.

In 2003, the BBC produced a documentary about Thompson's long musical career, entitled Solitary Life, directed by Paul Bernays and narrated by John Peel. It featured interviews with Thompson from his home in California and contributions from Billy Connolly, Bonnie Raitt, ex-wife Linda Thompson, Harry Shearer and Thompson's then wife Nancy Covey. The programme was re-broadcast by BBC Four in September 2012.

The move away from big labels and big budgets paradoxically brought a bigger marketing push and healthier sales. Thompson's first two self-funded releases, 2003's The Old Kit Bag and 2005's Front Parlour Ballads, did well in the indie charts on both sides of the Atlantic. In May 2007 Thompson released Sweet Warrior. The album was licensed to different labels in different territories: Shout! Factory in the US, P-Vine in Japan, Planet Records in Australia, and Proper Records in the UK and Europe. In August of the same year Island released a live Richard and Linda Thompson album, compiled from recordings made during the November 1975 tour to promote the Pour Down Like Silver album.

Thompson continued releasing "official bootlegs" on his boutique label as an additional source of revenue – all live recordings.

2010s

In early 2010, Thompson assembled a band and did a string of shows showcasing new material. The aim was to record the new material in a live setting. The recording and touring band consisted of Thompson, Pete Zorn, (acoustic guitar, flute, saxophone, mandolin, vocals); Michael Jerome (drums, vocals), Taras Prodaniuk, (bass guitar, vocals); and Joel Zifkin, (electric violin, mandolin, vocals). The resulting album Dream Attic, released in August the same year, was nominated for a Grammy Award for Best Contemporary Folk Album.

On 10 June 2010, Thompson was awarded the Mojo Les Paul Award for "Guitar Legend".

Thompson curated the 2010 Meltdown Festival. The festival included a tribute to the recently deceased Kate McGarrigle, a feature of which was a rare on-stage reunion of Richard and Linda Thompson. He was appointed Officer of the Order of the British Empire (OBE) in the 2011 New Year Honours for services to music. On 5 July 2011, he was awarded an honorary doctorate by the University of Aberdeen.

In early 2013, Thompson released Electric, recorded in Nashville with Buddy Miller producing. The record enjoyed good reviews and debuted in the UK top 20. Thompson took to the road with a stripped-down "power trio" band on a multi-month tour on both sides of the Atlantic to promote the new album. Also that year Thompson appeared on his ex-wife Linda's fourth studio album Won't Be Long Now, on the track "Love's for Babies and Fools". It was the second time the two have recorded together since Shoot Out the Lights.

In 2014, Thompson released Acoustic Classics, an album featuring acoustic renditions of 14 songs from his back catalogue, on his Beeswing label. The record reached number 16 on the UK Albums Chart. Thompson appears alongside family members, both blood related and by marriage, on the album Family (2014) by Thompson (the band being named for all the Thompsons that appear), performing two songs solo and contributing to others as well. The album was produced by son Teddy Thompson and features ex-wife Linda Thompson, The Rails who are Thompson's daughter Kami Thompson and her husband James Walbourne, as well as other related musicians, including Walbourne's brother and Richard Thompson's son from his second marriage.

Thompson released Still in June 2015, an album produced by Jeff Tweedy of Wilco and recorded in Tweedy's The Loft Studio. The album reached number 10 in the UK Album chart, his first album to reach the UK top 10. In September 2015, he appeared on BBC Two's Later... with Jools Holland, where he performed "All Buttoned Up" and ""She Never Could Resist a Winding Road" from his album Still. This was followed, in 2017, by a second acoustic album Acoustic Classics II which reached number 24 on the UK Albums Chart. and Acoustic Rarities, an album of new recordings of some of the more obscure songs in the Thompson catalogue, some previously existing only as cover versions.

Thompson's eighteenth studio album, 13 Rivers, was released on 14 September 2018. It was written after a period of difficulty for Thompson's family with songs that stick "close to a vision of darkness, gloom, and noise". Thompson produced the record himself at Boulevard Recording in Los Angeles. On 30 September 2019 Thompson played at the Royal Albert Hall to celebrate his 70th birthday.

In July 2019 Thompson was featured in the BBC Four documentary Classic Albums: The Crickets: The 'Chirping' Crickets, explaining the influence that Buddy Holly had had on him personally, and on the development of rock and roll in general.

2020s
In 2021 his book Beeswing: Losing My Way and Finding My Voice, 1967–1975 was published by Algonquin Books, mainly a memoir of his life as a musician from 1967 to 1975.

Thompson performed on the acoustic stage of the Glastonbury Festival in June 2023. Reviewing the set for The Guardian, Keza MacDonald said, "It's just him and a beautiful, bright-sounding acoustic guitar. He plays so well that you can't take your eyes off his picking hand, as you try to figure out how he's making the sound of three guitars come out of one. He is one of the most stunningly gifted guitarists you'll ever see live, and his dextrously fingerpicked mid-song diversions prompt claps and whoops from a crowd that is otherwise quietly reverent."

In January 2024 Thompson announced a band tour of the U.S. and U.K., with the British leg culminating in a date at London's Royal Albert Hall on 8 June. Ship to Shore was released that May. Reviewing the concert at the Glasgow Royal Concert Hall for The Times, Peter Ross awarded the gig four stars and said, "There were flashes of brilliance, however. "Guns Are the Tongues", with Hobbs on mandolin, built over seven minutes to an ecstatic darkness. "Dimming of the Day" had a gentle grace. Best of all was "Beeswing", which Thompson performed alone, fingerpicking an acoustic. Intricate and soulful, it’s a song in which his technical ability and poetic voice are held in balance. The brief silence that followed said more than any applause could; we knew we’d heard something exquisite." The final night, at the Royal Albert Hall, featured guest artists including Ralph McTell, James Walbourne, Kami Thompson, Linda Thompson, Squeeze and Crowded House.

Side projects and collaborations
In between leaving Fairport Convention in early 1971 and releasing his debut solo album in 1972, he undertook a large amount of session work, most notably on albums by John Martyn, Al Stewart, Matthews Southern Comfort, Sandy Denny, Mike Heron and Nick Drake.

During the same period, he also worked on two collaborative projects. Morris On was recorded with Ashley Hutchings, John Kirkpatrick, Dave Mattacks and Barry Dransfield, and was a collection of English traditional tunes arranged for electric instruments. The Bunch were almost the reverse conceptually – a grouping of English folk rock musicians (including Sandy Denny, Linda Peters and members of Fairport Convention) recording a selection of classic rock and roll tunes.

Thompson has continued to guest on albums by an array of artists, from Crowded House, Bonnie Raitt and Vivian Stanshall, to Norma Waterson and BeauSoleil and folk artists like Loudon Wainwright III, Cathal McConnell (of The Boys of the Lough) and Bob Davenport. He has also performed and recorded with Teddy Thompson, his son from his marriage to Linda Thompson.

Since the early 1980s, Thompson has appeared at Fairport Convention's annual Cropredy Festival, both in his own right and as a participant in sets with current and previous Fairport members. These sets are seldom confined to performances of songs out of the Thompson or Fairport Convention canons, and in recent years some surprise offerings have included the soul classic "I Heard It Through the Grapevine" (with Thompson backed by the Roy Wood Big Band), The Beatles' "I'm Down" and even "The Lady Is a Tramp".

Thompson has displayed a penchant for the avant garde as well, working with former Pere Ubu singer David Thomas's grouping The Pedestrians on two albums in 1981 and 1982, respectively. In the 1980s, he was associated with a loose-fitting group called The Golden Palominos, who were led by drummer Anton Fier and included at times on stage and on record Jack Bruce, Michael Stipe, Carla Bley, John Lydon, Bill Laswell and others. He has worked with experimental guitarist Henry Kaiser, most notably as part of the ad hoc grouping French Frith Kaiser Thompson with whom he recorded two albums. In 1997 he worked with long-time friend and band member Danny Thompson to record a concept album Industry that dealt with the decline of British industry. A year later he worked with early music expert Philip Pickett on the acclaimed Bones of All Men which fused renaissance tunes with contemporary music.

For several years Thompson devised and toured his show 1000 Years of Popular Music. The inspiration for this came when Playboy asked Thompson (and many other music industry figures) in 1999 for their suggestions for the "top ten songs of the millennium". Guessing that Playboy expected most people's lists to start at around 1950, Thompson took the magazine at its word and presented a list of songs from the 11th century to the present day. Perhaps not surprisingly, Playboy did not use his list, but the exercise gave him the idea for a show which takes a chronological trip through popular music across the ages. Thompson acknowledges that this is an ambitious undertaking, partly because he reckons that he is technically unqualified to sing 98% of the material, and partly because of the sparse musical setting he restricts himself to: besides his acoustic guitar, he's backed by singer/pianist Judith Owen and percussionist/singer Debra Dobkin. A typical performance would start with a medieval round, progress via a Purcell aria, Victorian music hall and Hoagy Carmichael and end with Thompson's take on the Britney Spears hit "Oops!... I Did It Again".

In 2004, Thompson was asked to create the soundtrack music for the Werner Herzog documentary Grizzly Man. The score, which was recorded over a two-day period in December 2004, brought Thompson together with a group of improvisational musicians, mostly from the San Francisco Bay area; video footage from the sessions was edited into a mini-documentary, In the Edges, which was included with the DVD release of Grizzly Man.

In 2009, Thompson was commissioned to write a piece for the International Society of Bassists in honour of Danny Thompson. The resulting Cabaret of Souls, a musical play set in the underworld, has been performed in State College (Pennsylvania), London, and Los Angeles with a cast that includes Harry Shearer, Judith Owen, Debra Dobkin, Pete Zorn, either Danny Thompson or David Piltch, and a 12-piece string section conducted by Peter Askim. This suite was eventually commercially released in late 2012.

In 2006 and 2013, Thompson recorded Hugh S. Roberton's "Mingulay Boat Song" and the traditional "General Taylor" for the sea shanty-compilations Rogue's Gallery: Pirate Ballads, Sea Songs, and Chanteys and Son of Rogues Gallery: Pirate Ballads, Sea Songs & Chanteys.

In July 2019, New West Records released a soundtrack album for the documentary The Cold Blue, featuring the film's original score composed by Thompson. The film, directed by Erik Nelson, focuses on the Eighth Air Force. It uses footage taken by director William Wyler for his 1944 documentary Memphis Belle: A Story of a Flying Fortress.

Retrospectives and tributes
There are a number of retrospective collections of Thompson's work, many containing material which is unavailable elsewhere. 1976's (guitar, vocal) was a collection of unreleased material from the previous eight years of Thompson's appearances on the Island label. The 3-CD set Watching the Dark combines his better-known songs and previously unreleased live and studio tracks. Action Packed is a compilation of tracks from his Capitol releases, plus three hard-to-find songs. Finally, in 2006, the independent label Free Reed released RT- The Life and Music of Richard Thompson, a 5-CD box set consisting almost entirely of previously unreleased performances of songs from throughout Thompson's long career.

Thompson's songs have been extensively covered; for example, Dimming of the Day has been performed by artists such as The Neville Brothers, Bonnie Raitt, Emmylou Harris, David Gilmour, The Blind Boys of Alabama, June Tabor, The Corrs and Alison Krauss and Union Station. There have been several tribute compilations of other artists' interpretations of his work, including: Capitol's Beat the Retreat: Songs by Richard Thompson and Green Linnet's The World Is a Wonderful Place: The Songs of Richard Thompson, both released in 1994.

Playing style
Thompson makes use of the "pick and fingers" technique (sometimes referred to as "hybrid picking") where he plays bass notes and rhythm with a pick between his first finger and thumb, and adds melody and punctuation by plucking the treble strings with his fingers. He also makes use of different guitar tunings, such as (low to high) CGDGBE, DADGBE, DADGAD, and more. This enables him to adapt traditional songs, as on Strict Tempo! and 1000 Years of Popular Music. Thompson occasionally makes use of a thumb-pick, playing in fingerstyle, the most notable example being on the motorcycle ballad "1952 Vincent Black Lightning".

Electric
Thompson is often associated with the Fender Stratocaster guitar. He has made prominent use of Stratocasters, as he has a general preference for the sound of single coil pick-ups.

"When I started playing Fenders in 1968, it was unfashionable because everyone in England was playing Gibsons and trying to get a big, fat sound like Eric Clapton had in Cream. I just wanted a little more bite."

Prior to using a Stratocaster with Fairport Convention he used a Gibson Les Paul with P-90 pick-ups. He then switched to a late 60s Stratocaster. Since leaving Fairport Convention he has continued to use electric guitars with single coil pick-ups, most famously a late-1950s Stratocaster but also two custom built electrics by Danny Ferrington as well as other Stratocasters, various Telecaster-type guitars and, in the studio, a Danelectro U2.

As regards effects, he has made significant use of modulation and vibrato type effects pedals, most notably the Univibe and emulations thereof.

Thompson has made intermittent use of Roland's GK-1 pick-up and GL-2 synthesiser over the years. He made use of these devices on 1979's Sunnyvista album and has occasionally used them in concert.

Acoustic
Since the early 1990s, Thompson has made prominent use of Lowden acoustic guitars for studio and live work; Lowden have made a signature model for him. Before this he used a Martin 000-18 as well as instruments built by Danny Ferrington.

For live work, his acoustic guitars are fitted with a Sunrise pick-up and an internal condenser microphone. The output from the pick-up is usually fed into some effects pedals, typically a delay pedal and a Uni-Vibe.

Personal life
In the early 1970s, Thompson began a relationship with the singer Linda Peters, who sang on Thompson's album Henry the Human Fly. In October 1972 the couple were married at Hampstead Town Hall. As "Richard & Linda Thompson", the couple released six studio albums between 1974 and 1982. Their children include Teddy Thompson and Kamila Thompson. Richard and Linda Thompson separated in 1982.

Thompson married Nancy Covey in 1985, and was with Covey until they separated in 2018. Thompson and Covey have a son, Jack Covey Thompson, a musician and visual artist who lives in London and has recorded with Henry Kaiser, Cuban musician Yelfris Valdez, and the Thompson family.

In 2024 his touring band for the album Ship to Shore included Thompson's grandson Zak Hobbs.

Richard Thompson lives in New Jersey with his wife, author, actor, singer and songwriter Zara Philips.

title: Richard Thompson (musician)


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User:TopKnot

TopKnot is the virtual persona and BDSM scene name of the guy behind TopKnot's Scratchpad.

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Sandra Gidley

Sandra Julia Gidley MRPharmS (née Rawson; born 26 March 1957) is a British pharmacist and politician who served as the Liberal Democrat Member of Parliament (MP) for Romsey in Hampshire from 2000 to 2010, when she lost her seat to Conservative candidate Caroline Nokes.

Biography
Born Sandra Julia Rawson in Rosset, Denbighshire in Wales, she was educated at the Eggar's Grammar School in Alton, Hampshire; the Afcent International School in Brunssum, Netherlands; and the Windsor Girls' School in Hamm, North Rhine-Westphalia, Germany. She finished her education at the University of Bath, where she was awarded a BPharm Diploma in 1978. She became a MRPharmS in 1979.

In 1979 she joined Badham Chemists as a pharmacist in Cheltenham, Gloucestershire, until she was appointed as a pharmacy manager with GK Chemists in Gloucester in 1980. She became a locum pharmacist in 1982 before joining Safeway as a supermarket pharmacy manager in 1992, and joined Tesco in the same position in 1999 where she remained until her election to the House of Commons.

On 17 July 2019, Gidley was announced as the first female President of the Royal Pharmaceutical Society. She was followed by another woman, Claire Anderson, in 2021.

Parliamentary career
She joined the Liberal Democrats in 1994, was elected as a councillor to the Test Valley Borough Council in 1995 and was, in 1997, the youngest ever female mayor of Romsey.

After Romsey's Conservative MP Michael Colvin died in a fire at his home in Tangley on 24 February 2000, Gidley was selected as the Liberal Democrat candidate for the resulting by-election. She won the by-election, on 4 May, with a majority of 3,311 votes and won in the 2001 and 2005 general elections. However, in 2005 her majority was reduced to only 125 votes, the smallest of any Lib Dem MP, by the Conservative candidate, Caroline Nokes. She was appointed as the party's spokeswoman on women's issues and older people from 2001. In January 2006, as Kennedy faced allegations of a drink problem, Gidley was one of 11 members of the front-bench team to write to Kennedy asking him to resign. Gidley chaired her party's Gender Balance Task Force, an initiative to get more women into politics.

The Romsey constituency was abolished for the 2010 election, and in the new Romsey and Southampton North constituency she was defeated by the Conservative candidate Caroline Nokes, who took the new seat a majority of 4,165 votes following the expenses scandal, in which it emerged Gidley accepted a £18,700 'windfall' from her London landlord in return for an increase in her taxpayer funded rent.

Criticism of parliamentary expenses
Gidley was sometimes described as "Hampshire's most expensive MP" by her political opponents, claiming £160,000 in 2007/08, and £187,000 in another year, amidst concerns she was using tax payer's money to fund her political and re-election campaign. It emerged the tax payer was paying money to her party's constituency office, including paying the business rates, £60 for water, over £600 a year on telephones, and £960 on tea, coffee and cleaning. In 2011, her successor, Conservative MP Caroline Nokes, claimed £87,000 a year less in expenses than Gidley. However in 2017–2018 Caroline Nokes was claiming £168,297.18 in expenses. Whilst an MP, Gidley was claiming £1,638 a month for a luxury flat with indoor swimming pool in London, as well as £420 a month for food, and over £1,000 for Council Tax, and was criticised when it emerged she and three other Lib Dem MPs, accepted a £18,700 cash windfall from the landlord of the Dolphin Square flat, in return for agreeing to an increase in their rent, which was funded by the taxpayer. She was found to have "accepted one-off cash payment from the owners of an apartment block close to Parliament in return for agreeing to pay higher rent levels". A Parliamentary Committee on Standards and Privileges was critical of Gidley's 'serious misjudgment' in accepting the windfall, said she had broken the rules, and she was forced to apologise for it.

Return to politics
Gidley stood unsuccessfully in the 2013 Hampshire County Council election against incumbent Conservative Councillor Roy Perry, former Member of the European Parliament and also the father of Caroline Nokes, the Conservative candidate who defeated her in 2010.

In the 2019 Local Elections, Gidley returned to Test Valley Borough Council as the Councillor for Romsey Abbey ward defeating the Conservative Party incumbent.

Lord Rennard
Gidley was her Party's Front Bench Spokesperson on Women's issues, and Chair of the Lib Dems 'Gender Balance Taskforce' at the time it emerged the Party's Chief Executive, Lord Rennard, was accused of a series of sexual assaults against women. She appeared on the BBC and admitted that the Lib Dems had 'screwed up'. However, several days later she claimed she had informed party leader Nick Clegg of the concerns over Rennard's conduct. Neither Nick Clegg or Sandra Gidley knew of any specific details as stated by Nick Clegg's spokesman "Sandra Gidley once raised general concerns with Nick Clegg about Lord Rennard's conduct. She did not know of or raise specific allegations.".

Personal life
Gidley and her husband Bill, an electronics engineer, married in 1979 and have lived in Romsey since 1986. They have a daughter, Gemma, and a son, Nick, who both attended local state schools. Gidley was for many years a voluntary antenatal teacher with the National Childbirth Trust and has been involved with many charitable organisations.

She enjoys badminton, and lists reading, cookery and the theatre amongst her hobbies, and is a supporter of Macmillan Cancer Relief.

title: Sandra Gidley


text:
University Museum of Bergen

The University Museum of Bergen (Universitetsmuseet i Bergen) is a university museum in Bergen, Norway. The museum features material related to anthropology, archaeology, botany, geology, zoology, art, and cultural history.

History
The University Museum of Bergen was founded in 1825 by Wilhelm Frimann Koren Christie, at the time president of the Storting. Founded under the name University Museum of Bergen with the intent of building large collections in the fields of culture and natural history, it became the grounds for most of the academic activity in the city, a tradition which has prevailed since the museum became part of the University of Bergen. The University Museum of Bergen is divided into two departments, the Natural History Collections and the Cultural History Collections and Public Outreach and exhibitions. It is also the caretaker of the museum garden, formerly the botanical garden, surrounding the natural history building, and the city's arboretum.

This was the first dedicated museum building in Norway. In its early years, the museum contained numerous art collections, including several works by the painter Johan Christian Dahl, cultural artefacts, and craftwork items. In 1931, the museum moved from its location in the Seminarium Fredericianum building near Bergen Cathedral School (Bergen katedralskole), to a new building southwest of Lille Lungegårdsvannet.

The current natural history building was designed by Johan Henrik Nebelong and finished in 1865. Bergen Museum moved in during 1866. The wings of the building were added in 1898 and the botanical garden was laid out between 1897 and 1899. The cultural history department got its own building in 1927. The increasing research activity at the museum from the late 19th century and onward led directly to the founding of the University of Bergen in 1946.

title: University Museum of Bergen


text:
Jelly roll

Jelly roll may refer to:

 * Swiss roll, a cake also known as jelly roll, roll cake, cream roll, roulade, Swiss log
 * Sheet pan, a baking pan sometimes referred to as a "jelly roll"

Entertainment

 * Jelly Roll (singer) (born 1984), rapper from Nashville
 * Jelly Roll Morton (1890–1941), jazz musician
 * "Jelly Roll Blues", a 1924 jazz fox-trot composed by Jelly Roll Morton
 * "Jelly Roll", a song on the album Blue Murder by Blue Murder
 * "Jelly Roll", a composition on the album Mingus Ah Um by Charles Mingus
 * Jelly Roll, the pet dog on the children's television show, Jibber Jabber
 * Jelly Roll (poetry collection), a 2003 poetry collection by Kevin Young

Finance

 * Jelly roll (options), an options trading strategy

Science and technology

 * Jelly roll fold, a type of beta barrel protein domain structure
 * Jelly roll (battery), a type of battery construction

title: Jelly roll


text:
Talk:Travelling salesman problem

Including distance matrix for presented example (7 city)
Is it possible to include original distance matrix (as it seem all gif animations use either the same or very similar one) for following images? https://en.wikipedia.org/wiki/File:Bruteforce.gif https://en.wikipedia.org/wiki/File:Branchbound.gif https://en.wikipedia.org/wiki/File:Nearestneighbor.gif https://en.wikipedia.org/wiki/File:AntColony.gif

All seem to share author (Saurabh.harsh). If this was done on image descriptions, it wouldn't affect current article's structure and allow this information to be easily shared with other articles them, as it could be just table with numbers, so no real need for translation). — Preceding unsigned comment added by Repnihrefs (talk • contribs) 15:52, 26 March 2022 (UTC)

importance?
I think importance=Top may be an overstatement for all of CS. Thoughts on bumping this down to importance=high? Certainly a hugely important problem in theoretical computer science, especially historically, but not one that seems particularly notable to the rest of CS. Caleb Stanford (talk) 18:17, 30 June 2022 (UTC)
 * I think high is ok. It's important, but not at the level of the halting problem or the P vs NP problem. —David Eppstein (talk) 19:21, 30 June 2022 (UTC)

The presumption of a route being possible
I have been studying the TSP intermittently for a decade now, and it appears to me that there is an untold controversy occurring in relation to the TSP being solved. I would like a "Controversies" section of the wiki to be opened. I think that a severe fallacy is being made in relation alleged routes computed to display that there are "possible" routes or that one route of the "possible" routes is the shortest: I think this fallacy comes from a belief that the salesman's travel can be preplanned to the point that the salesman can then travel that preplanned route via free will. I would like someone to make a topic on this issue as to whether or not there is a presumption that the salesman of the TSP has free will if but one or more ways to deviate from his fate/destiny/world-line. It appears to me there is often that presumption because there are routes that are argued to be the shortest "possible" route as if the conditions for the salesman to travel that route will be held constant in order for it to be a possible route OR that the salesman has free will to take that alleged shortest route as a possibility. In "the real world," unexpected things might happen that prevent an actual salesman from traveling a route that has been calculated by a computer to be the shortest "possible" route. For instance, if an unavoidable roadblock were to occur, that route would not have been a "possible" route after all. Dennis Blewett (talk) 22:30, 18 May 2023 (UTC)

Proposed solution in example is suboptimal
In the section "Computing a solution", under the subsection "Exact algorithm", the solution proposed is suboptimal. This can be verified visually; You can just replace a long segment with a shorter one:

It is visually very clear that the new, light-blue line segment is shorter than the segment connecting the upper right point to the upper left one.

If we approximate the coordinates of the points according to the scale: MedAnisMessaoudi (talk) 16:55, 12 March 2024 (UTC)
 * originally proposed solution faulty segment has a distance squared of: (95-20)² + (80-65)² = 5850
 * new solution blue segment squared distance (45 - 60)² + (15-50)² = 1450

 * It is the same round trip, with end = start. Uwappa (talk) 17:09, 12 March 2024 (UTC)
 * You are indeed correct, Thank you MedAnisMessaoudi (talk) 18:23, 12 March 2024 (UTC)

"Equivalent formulation" in terms of Hamiltonian cycle is not quite equivalent
When teaching this topic, we realized that the stated equivalent formulation "find a Hamiltonian cycle with the least weight" is not quite equivalent. The difference amounts to whether an edge can be reused, but in the context of TSP this is very slight, affecting only the case of a two-vertex, one-edge graph K_2.

Specifically, the textual description of the problem "what is the shortest possible route that visits each city exactly once and returns to the origin city?" allows for edge(s) to be reused. Due to the "exactly once" condition, such reuse is possible only in K_2, but this is reasonable to allow: the salesperson goes from the home city to the other city, then returns along the same edge.

By contrast, a Hamiltonian cycle is a cycle, which is a trail, which cannot reuse any edge. So there is no solution in K_2. 141.212.109.160 (talk) 15:43, 25 March 2024 (UTC)

 * When I cover this topic in my classes, I provide two formulations: one in positively weighted undirected graphs where you're allowed to reuse edges and vertices, and must find a closed walk that visits each vertex at least once, and one in metric spaces where you must find a cyclic order of the points. They are easily equivalent, of course, via all-pairs shortest paths. In any case, this avoids your problem with K2: in the graph formulation, the single edge can be reused, and in the metric formulation, there is a single cyclic order through the two points. —David Eppstein (talk) 17:39, 25 March 2024 (UTC)

Linking the Ring Star Problem
Dear Wikipedia members, I am a new contributor to this great free encyclopedia and would like to know if you believe linking the Ring star problem into the Traveling Salesman Problem which is a particular case of the former, would be a good idea? Thank you very much for reading me :) Jkhamphousone (talk) 18:27, 12 July 2024 (UTC)

 * It could be cited in which is in  section. Jkhamphousone (talk) 18:28, 12 July 2024 (UTC)
 * That seems like a plausibly relevant problem to mention (disclaimer: I am not an expert). As with any Wikipedia page, feel free to boldly contribute your change. If you can, try to cite a source specifically mentioning the relation between problems. –jacobolus (t) 23:31, 12 July 2024 (UTC)

title: Talk:Travelling salesman problem


text:
Neighbourhood

A neighbourhood (Commonwealth English) or neighborhood (American English) is a geographically localized community within a larger city, town, suburb or rural area, sometimes consisting of a single street and the buildings lining it. Neighbourhoods are often social communities with considerable face-to-face interaction among members. Researchers have not agreed on an exact definition, but the following may serve as a starting point: "Neighbourhood is generally defined spatially as a specific geographic area and functionally as a set of social networks. Neighbourhoods, then, are the spatial units in which face-to-face social interactions occur—the personal settings and situations where residents seek to realise common values, socialise youth, and maintain effective social control."

Preindustrial cities
In the words of the urban scholar Lewis Mumford, "Neighborhoods, in some annoying, inchoate fashion exist wherever human beings congregate, in permanent family dwellings; and many of the functions of the city tend to be distributed naturally—that is, without any theoretical preoccupation or political direction—into neighborhoods." Most of the earliest cities around the world as excavated by archaeologists have evidence for the presence of social neighbourhoods. Historical documents shed light on neighbourhood life in numerous historical preindustrial or nonwestern cities.

Neighbourhoods are typically generated by social interaction among people living near one another. In this sense they are local social units larger than households not directly under the control of city or state officials. In some preindustrial urban traditions, basic municipal functions such as protection, social regulation of births and marriages, cleaning and upkeep are handled informally by neighbourhoods and not by urban governments; this pattern is well documented for historical Islamic cities.

In addition to social neighbourhoods, most ancient and historical cities also had administrative districts used by officials for taxation, record-keeping, and social control. Administrative districts are typically larger than neighbourhoods and their boundaries may cut across neighbourhood divisions. In some cases, however, administrative districts coincided with neighbourhoods, leading to a high level of regulation of social life by officials. For example, in the Tang period Chinese capital city Chang'an, neighbourhoods were districts and there were state officials who carefully controlled life and activity at the neighbourhood level.

Neighbourhoods in preindustrial cities often had some degree of social specialisation or differentiation. Ethnic neighbourhoods were important in many past cities and remain common in cities today. Economic specialists, including craft producers, merchants, and others, could be concentrated in neighbourhoods, and in societies with religious pluralism neighbourhoods were often specialised by religion. One factor contributing to neighbourhood distinctiveness and social cohesion in past cities was the role of rural to urban migration. This was a continual process in preindustrial cities, and migrants tended to move in with relatives and acquaintances from their rural past.

Sociology
Neighbourhood sociology is a subfield of urban sociology which studies local communities Neighbourhoods are also used in research studies from postal codes and health disparities, to correlations with school drop out rates or use of drugs. Some attention has also been devoted to viewing the neighbourhood as a small-scale democracy, regulated primarily by ideas of reciprocity among neighbours.

Improvement

Neighbourhoods have been the site of service delivery or "service interventions" in part as efforts to provide local, quality services, and to increase the degree of local control and ownership. Alfred Kahn, as early as the mid-1970s, described the "experience, theory and fads" of neighbourhood service delivery over the prior decade, including discussion of income transfers and poverty. Neighbourhoods, as a core aspect of community, also are the site of services for youth, including children with disabilities and coordinated approaches to low-income populations. While the term neighbourhood organisation is not as common in 2015, these organisations often are non-profit, sometimes grassroots or even core funded community development centres or branches.

Community and economic development activists have pressured for reinvestment in local communities and neighbourhoods. In the early 2000s, Community Development Corporations, Rehabilitation Networks, Neighbourhood Development Corporations, and Economic Development organisations would work together to address the housing stock and the infrastructures of communities and neighbourhoods (e.g., community centres). Community and Economic Development may be understood in different ways, and may involve "faith-based" groups and congregations in cities.

As a unit in urban design
In the 1900s, Clarence Perry described the idea of a neighbourhood unit as a self-contained residential area within a city. The concept is still influential in New Urbanism. Practitioners seek to revive traditional sociability in planned suburban housing based on a set of principles. At the same time, the neighbourhood is a site of interventions to create Age-Friendly Cities and Communities (AFCC) as many older adults tend to have narrower life space. Urban design studies thus use neighbourhood as a unit of analysis.

China
In mainland China, the term is generally used for the urban administrative division found immediately below the district level, although an intermediate, subdistrict level exists in some cities. They are also called streets (administrative terminology may vary from city to city). Neighbourhoods encompass 2,000 to 10,000 families. Within neighbourhoods, families are grouped into smaller residential units or quarters of 100 to 600 families and supervised by a residents' committee; these are subdivided into residents' small groups of fifteen to forty families. In most urban areas of China, neighbourhood, community, residential community, residential unit, residential quarter have the same meaning: 社区 or 小区 or 居民区 or 居住区, and is the direct sublevel of a subdistrict (街道办事处), which is the direct sublevel of a district (区), which is the direct sublevel of a city (市). (See Administrative divisions of the People's Republic of China)

United Kingdom
The term has no general official or statistical purpose in the United Kingdom, but is often used by local boroughs for self-chosen sub-divisions of their area for the delivery of various services and functions, as for example in Kingston-upon-Thames or is used as an informal term to refer to a small area within a town or city. The label is commonly used to refer to organisations which relate to such a very local structure, such as neighbourhood policing or Neighbourhood watch schemes. In addition, government statistics for local areas are often referred to as neighbourhood statistics, although the data themselves are broken down usually into districts and wards for local purposes. In many parts of the UK wards are roughly equivalent to neighbourhoods or a combination of them.

North America
In the United States and Canada, neighbourhoods are often given official or semi-official status through neighbourhood associations, neighbourhood watches or block watches. These may regulate such matters as lawn care and fence height, and they may provide such services as block parties, neighbourhood parks and community security. In some other places the equivalent organization is the parish, though a parish may have several neighbourhoods within it depending on the area.

In localities where neighbourhoods do not have an official status, questions can arise as to where one neighbourhood begins and another ends. Many cities use districts and wards as official divisions of the city, rather than traditional neighbourhood boundaries. ZIP Code boundaries and post office names also sometimes reflect neighbourhood identities.

title: Neighbourhood