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Richard Reid

Richard Colvin Reid (born 12 August 1973), also known as the Shoe Bomber, is the perpetrator of the failed shoe bombing attempt on a transatlantic flight in 2001. Born to a father who was a career criminal, Reid converted to Islam as a young man in prison after years as a petty criminal. Later he became radicalized and went to Pakistan and Afghanistan, where he trained and became a member of al-Qaeda.

On 22 December 2001, Reid boarded American Airlines Flight 63 between Paris and Miami, wearing shoes packed with explosives, which he unsuccessfully tried to detonate. Passengers subdued him on the plane, which landed at Logan International Airport in Boston, the closest US airport. He was arrested, charged, and indicted. In 2002, Reid pleaded guilty in US federal court to eight federal criminal counts of terrorism, based on his attempt to destroy a commercial aircraft in flight. He was sentenced to three life terms plus 110 years in prison without parole and was transferred to ADX Florence, a super maximum security prison in Colorado.

Background
Reid was born in Bromley, London, to Lesley Hughes, who was of native English descent, and Colvin Robin Reid, a man of mixed race whose father was a Jamaican immigrant. When Reid was born, his father, a career criminal, was in prison for stealing a car. Reid attended Thomas Tallis School in Kidbrooke, leaving at age 16 and becoming a graffiti writer who was in and out of detention. He began writing graffiti under the name "Enrol" as part of a gang, and ultimately accumulated more than 10 convictions for crimes against persons and property. He served sentences at Feltham Young Offenders Institution and at Maidstone Prison.

In 1992, while serving a three-year sentence for various street robberies, he converted to Islam.

Islamic radicalisation
Upon his release from prison in 1995, he joined the Brixton Mosque. He later began attending the Finsbury Park Mosque in North London, headed at that time by the anti-American cleric Abu Hamza al-Masri, who was described as "the heart of the extremist Islamic culture" in Britain. By 1998 Reid was voicing extremist views. At the Finsbury Park Mosque he fell under the sway of "terrorist talent spotters and handlers" including Djamal Beghal, one of the leaders of the foiled plan for a 2001 suicide bombing of the American Embassy in Paris.

He spent 1999 and 2000 in Pakistan and trained at a terrorist camp in Afghanistan, according to several informants. He may also have attended an anti-American religious training centre in Lahore as a follower of Mubarak Ali Gilani.

After his return to Britain, Reid worked to obtain duplicate passports from British government consulates abroad. He lived and travelled in several places in Europe, communicating using an address in Peshawar, Pakistan, coincidentally where al Qaeda was formed in the late 1980s.

Preparation for bombing
Reid and Saajid Badat, another British man preparing as a terrorist, returned to Pakistan in November 2001, and reportedly travelled overland to Afghanistan. They were given "shoe bombs", casual footwear adapted to be covertly smuggled onto aircraft before being used to destroy them. Later forensic analysis of both bombs showed that they contained the same plastic explosive and that the respective lengths of detonator cord had come from the same batch: the cut mark on Badat's cord exactly matched that on Reid's. The pair returned separately to the United Kingdom in early December 2001. Reid went to Belgium for 10 days before catching a train to Paris on 16 December.

On 21 December 2001, Reid attempted to board a flight from Paris to Miami, Florida. His boarding was delayed because his dishevelled physical appearance aroused the suspicions of the airline passenger screeners. Once questioned by an ICTS agent, he was referred to the French National Police due to his seemingly evasive behavior and lack of baggage. Because his British passport was genuine and his name was not found on any lists of suspected terrorists, the police did not X-ray him or use bomb-sniffing dogs. The extended questioning resulted in Reid missing his flight, so he stayed overnight at a hotel near the airport while American Airlines was allowed to re-issue a ticket. He returned to the airport the following day and boarded American Airlines Flight 63 from Paris to Miami, wearing his special shoes packed with plastic explosives in their hollowed-out bottoms.

Bombing attempt on American Airlines Flight 63
On 22 December 2001, a passenger on Flight 63 from Paris to Miami complained of the smell of smoke in the cabin shortly after a meal service. One flight attendant, Hermis Moutardier, thinking she smelled a burnt match, walked along the aisles of the plane, trying to find the source. She found Reid, who was sitting alone near a window, attempting to light a match. Moutardier warned him that smoking was not allowed onboard the aircraft. Reid promised to stop.

A few minutes later, Moutardier found Reid leaned over in his seat. After she asked him what he was doing, Reid grabbed her, revealing one shoe in his lap, a fuse leading into the shoe, and a lit match. Several passengers worked together to subdue the 6 foot 4 inch (193 cm) tall Reid who weighed 215 pounds (97 kg). They restrained him using plastic handcuffs, seatbelt extensions, leather waist belts and headphone cords. An off-duty doctor on board administered a tranquilizer to him, which he found in the emergency medical kit of the airliner. The flight was immediately diverted to Logan International Airport in Boston, Massachusetts, the closest airport in the United States.

The explosive apparently did not detonate due to the delay in the departure of Reid's flight. The rainy weather, along with Reid's feet perspiration, made the fuse too damp to ignite.

Legal proceedings and sentencing
Reid was immediately arrested at Logan International Airport after the incident. Two days later, he was charged before a federal court in Boston with "interfering with the performance of duties of flight crew members by assault or intimidation", a crime which carries a penalty of up to 20 years in prison and a $250,000 fine. Additional charges were added when he was formally indicted by a grand jury. The judge ordered Reid held in jail without bail, pending trial due to the gravity of the crimes and the perceived high risk that he would try to flee. Officials at the time indicated that Reid's shoes contained 10 ounces (283 g) of explosive material characteristic of C-4, enough to blow a hole in the fuselage and cause the plane to crash.

During a preliminary hearing on 28 December, an FBI agent testified that forensic analysis had identified the chemicals as PETN, the primary explosive, and TATP (triacetone triperoxide), a chemical needed to detonate the bomb with a fuse and match. The prosecutor obtained a grand jury indictment and on 16 January 2002, Reid was charged with nine criminal counts related to terrorism, namely:
 * Attempted use of a weapon of mass destruction
 * Attempted homicide
 * Placing or transporting an explosive or incendiary device on an aircraft or public mass transportation vehicle,
 * Attempted murder
 * Two counts of interference with flight crew members and attendants on an aircraft
 * Attempted destruction of an aircraft or public mass transportation vehicle
 * Using a destructive device during and in relation to a crime of violence
 * Attempted destruction of an aircraft
 * Attempted wrecking of a mass transportation vehicle

The ninth charge, attempted wrecking of a mass transportation vehicle, was dismissed on 11 June 2002, because the Congressional definition of "vehicle" did not include aircraft.

Reid pleaded guilty to the remaining eight counts on 4 October 2002. On 31 January 2003, he was sentenced by Judge William Young to the maximum of three consecutive life sentences and 110 years with no possibility of parole. Reid was also fined the maximum of $250,000 on each count, a total of $2 million.

During the sentencing hearing, Reid said he was an enemy of the United States and in league with al-Qaeda. When Reid said he was a soldier of God under the command of Osama bin Laden, Judge Young responded:

"You are not an enemy combatant, you are a terrorist ... You are not a soldier in any army, you are a terrorist. To call you a soldier gives you far too much stature. [points to U.S. flag] You see that flag, Mr. Reid? That is the flag of the United States of America. That flag will be here long after you are forgotten."

Reid reportedly demonstrated a lack of remorse and a combative nature during the hearing, and said that "the flag will come down on the day of judgment". He is serving his sentence at United States Penitentiary, Florence ADX, in Colorado, a supermax facility that holds the most dangerous prisoners in the federal system.

Conspirators
Although Reid had insisted that he had acted alone and had built the bombs himself, forensic evidence included material from another person. In 2005, a British man, Saajid Badat from Gloucester, admitted that he had conspired with Richard Reid and a Tunisian man (Nizar Trabelsi, who is in prison in Belgium), in a plot to blow up two airliners bound for the United States, using their shoe bombs. Badat has said that he had been instructed to board a flight from Amsterdam to the United States. Badat never boarded and withdrew from his part of the conspiracy. Badat did not warn criminal or aviation authorities about Reid.

Badat confessed immediately after being arrested by the British police. The detonator cord in Badat's bomb was found by experts to be an exact match for the cord on Reid's bomb, and their explosive chemicals were essentially identical. He had received the bomb-making materials from someone in Afghanistan. Badat was sentenced to 13 years in prison by a British judge and has since been released.

Changes in airline security procedures
As a result of these events, some airlines encouraged passengers departing from an airport in the United States to pass through airport security in socks or bare feet while their shoes are scanned for bombs. In 2006, the TSA started requiring all passengers to remove their shoes for screening. Scanners do not find PETN in shoes or strapped to a person. A chemical test is needed. However, even if the X-ray scanners cannot detect all explosives, it is an effective way to see if the shoe has been altered to hold a bomb.

In 2011, the rules were relaxed to allow children 12 and younger and adults 75 and older to keep their shoes on during security screenings.

Alleged role in 9/11
Captured al-Qaeda terrorist conspirator Zacarias Moussaoui stated at his sentencing hearing in 2006 that Reid was a co-conspirator in the September 11 attacks on the United States, and that Moussaoui and Reid had intended to hijack a fifth aircraft and crash it into the White House in Washington, D.C. as part of the attacks that took place that day. Department of Justice investigators and the federal prosecutors were skeptical of Moussaoui's claim that Reid was involved in the plot.

Prison restrictions
Reid filed a lawsuit challenging the restrictions placed on him in prison which controlled his communications with lawyers and other non-prisoners, limited his access to Muslim clerics, and prevented him from joining in group prayer at the prison. In 2009, Reid went on a hunger strike and was force-fed and hydrated for several weeks. It was unknown whether Reid's hunger strike was related to his lawsuit. The Department of Justice, after consulting with its counter-terrorism section, the prosecuting US attorney's office, and the Federal Bureau of Investigation, allowed Reid's prison restrictions to expire in 2009, rather than renewing them, making his lawsuit moot.

title: Richard Reid


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User:Brinticus

Real name is Brint Montgomery. I am Professor at Large at Southern Nazarene University in Bethany, Oklahoma, and currently work as director of the Oklahoma State Approving Agency. I have interests in Philosophy of Mind, Cognitive Science, data structures of Biological Computing, Philosophy of Religion and Open theism. I also have a passing interest in Mathematics. I keep a blog at http://brintmontgomery.blogspot.com/

Articles of Major Contribution
I am the reader on the Audio file for these articles:

 * Clockwork 7 July 2009

 * Immortality

 * Hikaru Sulu

Other Articles I was involved in:

 * Puritanical bias Initial Wiki article (3 April 2020)

 * Immortality Wiki article from stub to full blown article. (also Audio 24 July 2006)

 * Paradox of hedonism Initial Wiki article

 * Brain imaging and history of brain imaging Initial Wiki article (draws from one of my student's research projects.)

 * Elliot Sober Initial Wiki article

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

title: User:Brinticus


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Film score

A film score is original music written specifically to accompany a film. The score comprises a number of orchestral, instrumental, or choral pieces called cues, which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question. Scores are written by one or more composers under the guidance of or in collaboration with the film's director or producer and are then most often performed by an ensemble of musicians – usually including an orchestra (most likely a symphony orchestra) or band, instrumental soloists, and choir or vocalists – known as playback singers – and recorded by a sound engineer. The term is less frequently applied to music written for media such as live theatre, television and radio programs, and video games, and said music is typically referred to as either the soundtrack or incidental music.

Film scores encompass an enormous variety of styles of music, depending on the nature of the films they accompany. While the majority of scores are orchestral works rooted in Western classical music, many scores are also influenced by jazz, rock, pop, blues, new-age and ambient music, and a wide range of ethnic and world music styles. Since the 1950s, a growing number of scores have also included electronic elements as part of the score, and many scores written today feature a hybrid of orchestral and electronic instruments.

Since the invention of digital technology and audio sampling, many modern films have been able to rely on digital samples to imitate the sound of acoustic instruments, and many scores are created and performed wholly by the composers themselves, by using music composition software, synthesizers, samplers, and MIDI controllers.

Songs such as pop songs and rock songs are usually not considered part of the film's score, although songs do also form part of the film's soundtrack. Although some songs, especially in musicals, are based on thematic ideas from the score (or vice versa), scores usually do not have lyrics, except for when sung by choirs or soloists as part of a cue. Similarly, pop songs that are dropped into a specific scene in a film for emphasis or as diegetic music (e.g., a song playing on a character's car radio), are not considered part of the score, although the score's composer will occasionally write an original pop song based on their themes, such as James Horner's "My Heart Will Go On" from Titanic, written for Celine Dion.

Terminology
A film score may also be called a background score, background music, film soundtrack, film music, screen composition, screen music, or incidental music.

Spotting
The composer usually enters the creative process towards the end of filming at around the same time as the film is being edited, although on some occasions the composer is on hand during the entire film shoot, especially when actors are required to perform with or be aware of original diegetic music. The composer is shown an unpolished "rough cut" of the film before the editing is completed and talks to the director or producer about what sort of music is required for the film in terms of style and tone. The director and composer will watch the entire film, taking note of which scenes require original music. During this process, composers will take precise timing notes so that they know how long each cue needs to last, where it begins, where it ends, and of particular moments during a scene with which the music may need to coincide in a specific way. This process is known as "spotting".

Occasionally, a filmmaker will actually edit their film to fit the flow of music, rather than have the composer edit their score to the final cut. Director Godfrey Reggio edited his films Koyaanisqatsi and Powaqqatsi based on composer Philip Glass's music. Similarly, the relationship between director Sergio Leone and composer Ennio Morricone was such that the finale of The Good, the Bad and the Ugly and the films Once Upon a Time in the West and Once Upon a Time in America were edited to Morricone's score as the composer had prepared it months before the film's production ended.

In another example, the finale of Steven Spielberg's E.T. the Extra-Terrestrial was edited to match the music of his long-time collaborator John Williams: as recounted in a companion documentary on the DVD, Spielberg gave Williams complete freedom with the music and asked him to record the cue without pictures; Spielberg then re-edited the scene later to match the music.

In some circumstances, a composer will be asked to write music based on their impressions of the script or storyboards without seeing the film itself and has more freedom to create music without the need to adhere to specific cue lengths or mirror the emotional arc of a particular scene. This approach is usually taken by a director who does not wish to have the music comment specifically on a particular scene or nuance of a film and which can instead be inserted into the film at any point the director wishes during the post-production process. Composer Hans Zimmer was asked to write music in this way in 2010 for director Christopher Nolan's film Inception; composer Gustavo Santaolalla did the same thing when he wrote his Oscar-winning score for Brokeback Mountain.

Syncing
When writing music for film, one goal is to sync dramatic events happening on screen with musical events in the score. There are many different methods for syncing music to picture. These include using sequencing software to calculate timings, using mathematic formulas and free timing with reference timings. Composers work using SMPTE timecode for syncing purposes.

When syncing music to picture, generally a leeway of 3–4 frames late or early allows the composer to be extremely accurate. Using a technique called Free Timing, a conductor will use either (a) a stopwatch or studio size stop clock, or (b) watch the film on a screen or video monitor while conducting the musicians to predetermined timings. These are represented visually by vertical lines (streamers) and bursts of light called punches. These are put on the film by the Music Editor at points specified by the composer. In both instances, the timings on the clock or lines scribed on the film have corresponding timings which are also at specific points (beats) in the composer/conductor score.

Written click track
A written click track is a method of writing bars of music in consistent time values (e.g. 4 beats in :02⅔ seconds) to establish a constant tempo in lieu of a metronome value (e.g. 88 Bpm). A composer would use a written click if he or she planned to conduct live performers. When using other methods such as a metronome, the conductor has a perfectly spaced audible click playing. This can yield stiff and lifeless performances in slower more expressive cues. A standard BPM value can be converted to a written click where X represents the number of beats per bar and W represents time in seconds by using the following equation:

$$\frac{60}{bpm}(x)=W$$

Written clicks are expressed using 1/3 second increments, so the next step is to round the decimal to either 0, 1/3, or 2/3 of a second. The following is an example for 88 BPM:

$$\frac{60}{88}(4)=2.72$$

2.72 rounds to 2.66, so the written click is 4 beats in :02⅔ seconds.

Once the composer has identified the location in the film with which to sync musically, he or she must determine the musical beat this event occurs on. To find this, conductors use the following equation, where bpm is beats per minute, sp is the sync point in real-time (i.e. 33.7 seconds), and B is the beat number in 1/3 increments (i.e. 49⅔).

$$\frac{bpm(sp)}{60}+1=B$$

Writing
Once the spotting session has been completed and the precise timings of each cue determined, the composer will then work on writing the score. The methods of writing the score vary from composer to composer; some composers prefer to work with a traditional pencil and paper, writing notes by hand on a staff and performing works-in-progress for the director on a piano, while other composers write on computers using sophisticated music composition software such as Digital Performer, Logic Pro, Finale, Cubase, or Pro Tools. Working with software allows composers to create MIDI-based demos of cues, called MIDI mockups, for review by the filmmaker prior to the final orchestral recording.

The length of time a composer has to write the score varies from project to project; depending on the post-production schedule, a composer may have as little as two weeks or as much as three months to write the score. In normal circumstances, the actual writing process usually lasts around six weeks from beginning to end.

The actual material of the score depends on several different variables that factor into how a composer may write. Things like; the emotion the composer is trying to convey, the character on screen, the scenery and geography of the set, along with multiple more different variables. A composition could consist of different instrumentation, varying genres, and different influential styles. this matrix of possibilities has made it possible for hundreds of scores to stand out.

Each composer has their own Inspirations and their own pragmatic impressions that create a unique and grabbing sound that create a memorable scene. One example of this is in the "Lord of The Rings" score where Howard Shore used specific melodic idea to refer to The Shire using a tin flute to evoke a Celtic feel. He does this many times through all three films in the trilogy to refer back when a character is feeling nostalgic or reminiscent ( Lawson, Macdonald ,2018).

In other scores you'll find not only original orchestration but also an incorporation of popular music, that represents the era and or the character being portrayed. Many films do this like " Guardians of the galaxy", or the " Back to the Future". In the Robert Zemeckis, Alan Silvestri orchestrates a composition that is accompanied by tracks suck as; "The power of love", and "Back in Time" both by Huey Lewis and The News. This creates a sense of lightness that deviates from the fanfare-like main theme.( Lawson, Macdonald ,2018).

Many scores often try to draw from worldly influence to create sound that cements itself into popular culture. An example of this would be the score from " The Good, The Bad, and The Ugly". In this score by Ennio Morricone he uses a culmination of post-tonal music theory, celtic song, gregorian chant, and mariachi trumpets to create the sound of the spaghetti western, that is often associated with the wild west ( Kalinak 2010 ).

Orchestration
Once the music has been written, it must then be arranged or orchestrated in order for the ensemble to be able to perform it. The nature and level of orchestration varies from project to project and composer to composer, but in its basic form the orchestrator's job is to take the single-line music written by the composer and "flesh it out" into instrument-specific sheet music for each member of the orchestra to perform.

Some composers like Ennio Morricone orchestrate their own scores themselves, without using an additional orchestrator. Some composers provide intricate details in how they want this to be accomplished and will provide the orchestrator with copious notes outlining which instruments are being asked to perform which notes, giving the orchestrator no personal creative input whatsoever beyond re-notating the music on different sheets of paper as appropriate. Other composers are less detailed, and will often ask orchestrators to "fill in the blanks", providing their own creative input into the makeup of the ensemble, ensuring that each instrument is capable of performing the music as written, and even allowing them to introduce performance techniques and flourishes to enhance the score. In many cases, time constraints determined by the film's post-production schedule dictate whether composers orchestrate their own scores, as it is often impossible for the composer to complete all the required tasks within the time frame allowed.

Over the years several orchestrators have become linked to the work of one particular composer, often to the point where one will not work without the other.

Once the orchestration process has been completed, the sheet music is physically printed onto paper by one or more music copyists and is ready for performance.

Recording
When the music has been composed and orchestrated, the orchestra or ensemble then performs it, often with the composer conducting. Musicians for these ensembles are often uncredited in the film or on the album and are contracted individually (and if so, the orchestra contractor is credited in the film or the soundtrack album). However, some films have recently begun crediting the contracted musicians on the albums under the name Hollywood Studio Symphony after an agreement with the American Federation of Musicians. Other performing ensembles that are often employed include the London Symphony Orchestra (performing film music since 1935) the City of Prague Philharmonic Orchestra (an orchestra dedicated mostly to recording), the BBC Philharmonic, and the Northwest Sinfonia.

The orchestra performs in front of a large screen depicting the film, The conductor and musicians habitually wear headphones that sound a series of clicks called a "click-track" that changes with meter and tempo, assisting to synchronize the music with the film.

More rarely, the director will talk to the composer before shooting has started, so as to give more time to the composer or because the director needs to shoot scenes (namely song or dance scenes) according to the final score. Sometimes the director will have edited the film using "temp (temporary) music": already published pieces with a character that the director believes to fit specific scenes.

Elements of a film score
Most films have between 45 and 120 minutes of music. However, some films have very little or no music; others may feature a score that plays almost continuously throughout.

Temp tracks
In some instances, film composers have been asked by the director to imitate a specific composer or style present in the temp track. On other occasions, directors have become so attached to the temp score that they decide to use it and reject the original score written by the film composer. One of the most famous cases is Stanley Kubrick's 2001: A Space Odyssey, where Kubrick opted for existing recordings of classical works, including pieces by composer György Ligeti rather than the score by Alex North, although Kubrick had also hired Frank Cordell to do a score. Other examples include Torn Curtain (Bernard Herrmann), Troy (Gabriel Yared), Pirates of the Caribbean: The Curse of the Black Pearl (Alan Silvestri), Peter Jackson's King Kong (Howard Shore), and The Bourne Identity (Carter Burwell).

Structure
Films often have different themes for important characters, events, ideas or objects, an idea often associated with Wagner's use of leitmotif. These may be played in different variations depending on the situation they represent, scattered amongst incidental music. The themes for specific characters or locations are known as a motif where the rest of the track is usually centered around the particular motif and the track develops in line with the motif.

This common technique may often pass unnoticed by casual moviegoers, but has become well known among genre enthusiasts. One prominent example is John Williams' score for the Star Wars saga, and the numerous themes in Star Wars music associated with individual characters such as Darth Vader, Luke Skywalker, and Princess Leia. Similarly, the music of the Lord of the Rings film series featured recurring themes for many main characters and places. Another notable example is Jerry Goldsmith's Klingon theme from Star Trek: The Motion Picture (1979), which later composers in the Star Trek film series quoted in their Klingon motifs, and which was included on numerous occasions as a theme for Worf, the franchise's most prominent Klingon character. Michael Giacchino employed character themes in the soundtrack for the 2009 animated film Up, for which he received the Academy Award for Best Score. His orchestral soundtrack for the television series Lost also depended heavily on character and situation-specific themes.

Source music
"Source music" (or a "source cue") comes from an on screen source that can actually be seen or that can be inferred (in academic film theory such music is called "diegetic" music, as it emanates from the "diegesis" or "story world"). An example of "source music" is the use of the Frankie Valli song "Can't Take My Eyes Off You" in Michael Cimino's The Deer Hunter. Alfred Hitchcock's 1963 thriller The Birds is an example of a Hollywood film with no non-diegetic music whatsoever. Dogme 95 is a filmmaking movement, started in Denmark in 1995, with a manifesto that prohibits any use of non-diegetic music in its films.

Music criticism
The artistic merits of film music are frequently debated. Some critics value it highly, pointing to music such as that written by Erich Wolfgang Korngold, Aaron Copland, Bernard Herrmann, and others. Some consider film music to be a defining genre of classical music in the late 20th century, if only because it is the brand of classical music heard more often than any other. In some cases, film themes have become accepted into the canon of classical music. These are mostly works from already noted composers who have done scores; for instance, Sergei Prokofiev's score to Alexander Nevsky, or Vaughan Williams' score to Scott of the Antarctic. Others see the great bulk of film music as meritless. They consider that much film music is derivative, borrowing heavily from previous works. Composers of film scores typically can produce about three or four per year. The most popular works by composers such as John Williams are still far from entering the accepted classical canon, although there is a growing appreciation for the broader contribution of composers such as Williams among some classical composers and critics; for example, the Norwegian contemporary classical composer Marcus Paus has said that he considers Williams to be "one of the great composers of any century" who has "found a very satisfying way of embodying dissonance and avant-garde techniques within a larger tonal framework" and who "might also have come the closest of any composer to realizing the old Schoenbergian utopia that children of the future would be whistling 12-tone rows." Even so, considering they are often the most popular modern compositions of classical music known to the general public, major orchestras sometimes perform concerts of such music, as do pops orchestras.

Preservation efforts
In 1983, a non-profit organization, the Society for the Preservation of Film Music, was formed to preserve the "byproducts" of creating a film score, including the music manuscripts (written music) and other documents and studio recordings generated in the process of composing and recording scores which, in some instances, have been discarded by movie studios. The written music must be kept to perform the music on concert programs and to make new recordings of it. Sometimes only after decades has an archival recording of a film score been released on CD.

History
The origins of film music are disputed, although they are generally considered to have aesthetic roots in various media forms associated with nineteenth-century Romanticism. According to Kurt London, film music "began not as a result of any artistic urge, but from a dire need of something which would drown the noise made by the projector. For in those times there was as yet no sound-absorbent walls between the projection machine and the auditorium. This painful noise disturbed visual enjoyment to no small extent. Instinctively cinema proprietors had recourse to music, and it was the right way, using an agreeable sound to neutralize one less agreeable." On the contrary, film historian James Wierzbicki asserts that early film showings (such as the Lumière brothers' first film screening) would have been social events to the capacity that they had no need to mask the sounds of a projector mechanism. As these early films began to move out of exhibition spaces and into vaudeville theaters, the role of film began to shift as well. Given that vaudeville theaters typically employed musicians, it is likely that this is the point when it became commonplace for film to be accompanied by music. Audiences at the time would have come to expect music in the vaudeville space, and as such live musical accompaniment to films grew out naturally.

Before the age of recorded sound in motion pictures, efforts were taken to provide suitable music for films, usually through the services of an in-house pianist or organist, and, in some cases, entire orchestras, typically given cue sheets as a guide. A pianist was present to perform at the Lumière brothers' first film screening in 1895. In 1914, The Oz Film Manufacturing Company sent full-length scores by Louis F. Gottschalk for their films. Other examples of this include Victor Herbert's score in 1915 to The Fall of a Nation (a sequel to The Birth of a Nation) and Camille Saint-Saëns' music for The Assassination of the Duke of Guise in 1908. It was preceded by Nathaniel D. Mann's score for The Fairylogue and Radio-Plays by four months, but that was a mixture of interrelated stage and film performance in the tradition of old magic lantern shows. Most accompaniments at this time, these examples notwithstanding, comprised pieces by famous composers, also including studies. These were often used to form catalogues of photoplay music, which had different subsections broken down by 'mood' and genre: dark, sad, suspense, action, chase, etc.

German cinema, which was highly influential in the era of silent movies, provided some original scores such as Fritz Lang's movies Die Nibelungen (1924) and Metropolis (1927) which were accompanied by original full scale orchestral and leitmotific scores written by Gottfried Huppertz, who also wrote piano-versions of his music, for playing in smaller cinemas. Friedrich W. Murnau's movies Nosferatu (1922 – music by Hans Erdmann) and Faust – Eine deutsche Volkssage (1926 – music by Werner Richard Heymann) also had original scores written for them. Other films like Murnau's Der letzte Mann contained a mixing of original compositions (in this case by Giuseppe Becce) and library music / folk tunes, which were artistically included into the score by the composer. Much of this influence can be traced further back to German Romantic forms of music. Richard Wagner's ideas on Gesamtkunstwerk and leitmotif in his operas were later picked up on by prominent film composer Max Steiner. Steiner and his contemporary Erich Korngold both immigrated from Vienna, bringing with them musical structures and ideologies of the late Romantic period.

In France, before the advent of talkies, Erik Satie composed what many consider the first "frame by frame" synchronous film score for director René Clair's avant-garde short Entr'acte (1924). Anticipating "spotting" techniques and the inconsistencies of projection speeds in screenings of silent films, Satie took precise timings for each sequence and created a flexible, aleatoric score of brief, evocative motifs which could be repeated and varied in tempo as required. American composers Virgil Thomson and Aaron Copland cited Satie's music for Entr'acte as a major influence on their own forays into film scoring.

When sound came to movies, director Fritz Lang barely used music in his movies anymore. Apart from Peter Lorre whistling a short piece from Edvard Grieg's Peer Gynt, Lang's movie M – Eine Stadt sucht einen Mörder was lacking musical accompaniment completely and Das Testament des Dr. Mabuse only included one original piece written for the movie by Hans Erdmann played at the very beginning and end of the movie. One of the rare occasions on which music occurs in the movie is a song one of the characters sings, that Lang uses to put emphasis on the man's insanity, similar to the use of the whistling in M.

Early attempts at the synchronization of sound and image were failures, in large part due to mechanical and technological limitations. Phonographs, the only medium available for recorded sound in the early twentieth century, were difficult if not impossible to synchronize with the rotation of film projectors. In the cases where an attempt was made, sound was further limited by an inability to properly amplify it. However, in the 1920s improvements in radio technology allowed for the amplification of sound, and the invention of sound on film allowed for the synchronization thereof. A landmark event in music synchronization with the action in film was achieved in the score composed by Max Steiner for David O. Selznick's 1933 King Kong. A fine example of this is when the aborigine chief slowly approaches the unwanted visitors to Skull Island who are filming the natives' sacred rites. As he strides closer and closer, each footfall is reinforced by a background chord.

Though "the scoring of narrative features during the 1940s lagged decades behind technical innovations in the field of concert music," the 1950s saw the rise of the modernist film score. Director Elia Kazan was open to the idea of jazz influences and dissonant scoring and worked with Alex North, whose score for A Streetcar Named Desire (1951) combined dissonance with elements of blues and jazz. Kazan also approached Leonard Bernstein to score On the Waterfront (1954) and the result was reminiscent of earlier works by Aaron Copland and Igor Stravinsky with its "jazz-based harmonies and exciting additive rhythms." A year later, Leonard Rosenman, inspired by Arnold Schoenberg, experimented with atonality in his scores for East of Eden (1955) and Rebel Without a Cause (1955). In his ten-year collaboration with Alfred Hitchcock, Bernard Herrmann experimented with ideas in Vertigo (1958) and Psycho (1960). The use of non-diegetic jazz was another modernist innovation, such as jazz star Duke Ellington's score for Otto Preminger's Anatomy of a Murder (1959).

Box office champions
The following list includes all composers who have scored one of the 100 highest-grossing films of all time but have never been nominated for a major award (Oscar, Golden Globe etc.).
 * William Alwyn – Swiss Family Robinson (1960)
 * Joseph DeBeasi – American Sniper (2014)
 * David Buttolph – House of Wax (1953)
 * Brad Fiedel – Terminator 2: Judgment Day (1991)
 * Alexander Janko – My Big Fat Greek Wedding (2002)
 * Bill Justis – Smokey and the Bandit (1977)
 * Harald Kloser – The Day After Tomorrow (2004), 2012 (2009)
 * Heitor Pereira – Despicable Me (2010), The Smurfs (2011), Despicable Me 2 (2013)
 * Trevor Rabin – Armageddon (1998), National Treasure: Book of Secrets (2007)
 * Thomas Wanker – 2012 (2009)
 * Pharrell Williams – Despicable Me (2010), Despicable Me 2 (2013)
 * Chris Wilson – My Big Fat Greek Wedding (2002)

Relation with directors
Sometimes, a composer may unite with a director by composing the score for many films of a same director. John Williams' professional relationship with Steven Spielberg and George Lucas is one of the most prominent in film history, with Williams scoring all but five of Spielberg's films, and all the installments of both of Lucas' blockbuster franchises (Star Wars and Indiana Jones); Williams won all five of his Oscars in his collaborations with the two. Additionally, Danny Elfman did the score for all the movies directed by Tim Burton, with the exception of Ed Wood (score by Howard Shore) and Sweeney Todd: The Demon Barber of Fleet Street (score by Stephen Sondheim). Other documented instance of director-composer relationships includes: Bernard Herrmann with Alfred Hitchcock; Jerry Goldsmith with Joe Dante and Franklin Schaffner; Ennio Morricone with Sergio Leone, Mauro Bolognini, and Giuseppe Tornatore; Henry Mancini with Blake Edwards; Georges Delerue with François Truffaut; Alan Silvestri with Robert Zemeckis; Angelo Badalamenti with David Lynch; James Newton Howard with M. Night Shyamalan; Éric Serra with Luc Besson; Patrick Doyle with Kenneth Branagh; Dave Grusin with Sydney Pollack; Howard Shore with David Cronenberg, Peter Jackson, and Martin Scorsese; Carter Burwell with Joel & Ethan Coen; Bill Conti with John G. Avildsen; Lalo Schifrin with Don Siegel, Stuart Rosenberg, and Brett Ratner; Hans Zimmer with Ridley Scott and Christopher Nolan; Harry Gregson-Williams with Tony Scott and Andrew Adamson; Clint Mansell with Darren Aronofsky; Dario Marianelli with Joe Wright; Trent Reznor and Atticus Ross with David Fincher; Steve Jablonsky with Michael Bay, Mychael Danna with Ang Lee and Atom Egoyan, Terence Blanchard with Spike Lee, Randy Newman with John Lasseter; Thomas Newman with Sam Mendes; David Newman with Danny Devito, Brian Levant, and Stephen Herek; John Debney with Jon Favreau and Garry Marshall; Gabriel Yared with Anthony Minghella; Joe Kraemer with Christopher McQuarrie; Michael Giacchino with J. J. Abrams and Brad Bird; James Horner with James Cameron and Ron Howard; John Barry with Bryan Forbes, Anthony Harvey, Terence Young, and Guy Hamilton; Elmer Bernstein with John Landis, John Sturges, and Robert Mulligan; Maurice Jarre with David Lean, Peter Weir, and Georges Franju; Philip Glass with Godfrey Reggio; Cliff Martinez and David Holmes with Steven Soderbergh; Akira Ifukube with Ishirō Honda; A. R. Rahman with Mani Ratnam; George Fenton with Richard Attenborough, Nicholas Hynter, Ken Loach, and Stephen Frears; Klaus Badelt and Ernst Reijseger with Werner Herzog; Randy Edelman with Ivan Reitman and Rob Cohen; Marc Shaiman with Rob Reiner; Elliot Goldenthal with Julie Taymor and Neil Jordan; Rachel Portman with Beeban Kidron, Lasse Hallström, and Jonathan Demme; Christophe Beck with Shawn Levy; Arthur B. Rubinstein and David Shire with John Badham; John Powell with Doug Liman and Paul Greengrass; Trevor Rabin with Renny Harlin and Jon Turteltaub; Harald Kloser with Roland Emmerich; David Arnold with Michael Apted and John Singleton; Michael Kamen with Richard Donner, John McTiernan, and Terry Gilliam; Jorge Arriagada with Raúl Ruiz; Zbigniew Preisner with Krzysztof Kieślowski; Mark Isham with Alan Rudolph and Robert Redford; Basil Poledouris with John Millius; Joseph Trapanese with Joseph Kosinski; Jonny Greenwood and Jon Brion with Paul Thomas Anderson; Brian Tyler with Justin Lin and Sylvester Stallone; John Ottman with Bryan Singer; Marco Beltrami with Wes Craven and Guillermo del Toro; Tyler Bates with James Gunn, Zack Snyder, and Rob Zombie; Pino Donaggio with Brian De Palma; and Alexandre Desplat with Wes Anderson, Roman Polanski, and George Clooney.

Production music
Many companies provide music to various film, TV and commercial projects for a fee. Sometimes called library music, the music is owned by production music libraries and licensed to customers for use in film, television, radio and other media. Examples of firms include Warner Chappell Production Music, Jingle Punks, Associated Production Music, FirstCom Music, VideoHelper and Extreme Music. Unlike popular and classical music publishers, who typically own less than 50 percent of the copyright in a composition, music production libraries own all of the copyrights of their music, meaning that it can be licensed without seeking the composer's permission, as is necessary in licensing music from normal publishers. This is because virtually all music created for music libraries is done on a work for hire basis. Production music is therefore a very convenient medium for media producers – they can be assured that they will be able to license any piece of music in the library at a reasonable rate.

Production music libraries will typically offer a broad range of musical styles and genres, enabling producers and editors to find much of what they need in the same library. Music libraries vary in size from a few hundred tracks up to many thousands. The first production music library was set up by De Wolfe Music in 1927 with the advent of sound in film, the company originally scored music for use in silent film. Another music library was set up by Ralph Hawkes of Boosey & Hawkes Music Publishers in the 1930s. APM, the largest US library, has over 250,000 tracks.

title: Film score


text:
Talk:University of York

Rankings in the lead
An anonymous editor keeps removing the sentence summarising the major rankings in the lead and replacing it with references only to the QS rankings. In only giving a single viewpoint where multiple viewpoints are available, this appears to be in violation of WP:NPOV. Rather than edit-warring, I have flagged the statement to point to this discussion. The WP:UNIGUIDE guidelines states: "In the lead, do not use rankings to synthesize an image of the institution, whether good or bad. Give one factual statement summarising overall "most recent" rankings obtained in key surveys (for example, "In 2010, institution 'A' has been ranked #3 by The Economist, #5 by The New York Times and #8 by Financial Times."). In the lead, do not give the sub factor rankings -- details like "ranked #x in placements" or "ranked #3 in research" should not be the lead, and only selectively for major factors in the article anywhere."

This makes it clear that the statement must summarise the major rankings, not select one favourite one. In its current form, the lead is cherry-picking an editor's favourite ranking rather than presenting the major rankings in a neutral manner. If there are no objections made here, I will revert to the summary sentence and remove the POV tag. Robminchin (talk) 18:31, 25 August 2017 (UTC)

 * Following no objection here, I inserted a form of the sentence that complied with the guidelines above. The same anonymous editor has reverted this without participation in the discussion. I have therefore restored the tag and invite the anonymous editor using IP again to join in this discussion. Robminchin (talk) 13:37, 4 September 2017 (UTC)

 * As no comments have been received, I will return the text to my summary sentence. Any further reverts by the anonymous user without discussion here will be reported as potential WP:disruptive editing. Robminchin (talk) 06:00, 10 September 2017 (UTC)

 * The same anonymous editor,, has now reverted this again without participating in the discussion. I again invite them to discuss this here and explain why they feel the WP:UNIGUIDE guidelines should not apply here. Robminchin (talk) 20:51, 5 January 2018 (UTC)

 * As this is the same user and they do not seem interested in discussion I suggest we revert back to the stable version. We should probably pursue a block since I believe the page was previously protected due to these edits.Aloneinthewild (talk) 18:09, 6 January 2018 (UTC)

The note on the page is (or was – as it keeps being removed) very clear as are the edit summaries and the comments on this talk page – all of which are being ignored – and it is clear from the edit history as far back as September 2015 that disruptive editing to add past QS rankings to the lead is not going to stop – a user block may be the only way to stop it happening and also page protection (which I have requested) is needed as it looks like another IP address is also being used for similar editing. EdwardUK (talk) 15:25, 22 January 2018 (UTC)
 * I have rewritten the lead to summarise the "most recent" rankings, but does not seem to understand the edit summaries or the UNIGUIDE and keeps re-adding previous rankings to the lead. The information seems accurate but misplaced and without citation so I have expanded the section on academic rankings and included the non-"most recent" rankings there instead of the lead, but if it is again restored to the lead without an explaination for its inclusion it could be viewed as disruptive editing. EdwardUK (talk) 15:31, 12 January 2018 (UTC)
 * It seems quite likely the other IP address is the same user. This clearly (to my mind) meets the definition at Disruptive Editing. It's not clear how to deal with this kind of disruption, however. It looks like we might need to post something at Administrators' noticeboard/Incidents, which seems rather complicated. I've reverted it again for now, but my home ISP can't reach Wikipedia at the moment (!) so I only have limited access. Robminchin (talk) 16:13, 22 January 2018 (UTC)

I have put in another page-protection request as the editing has resumed since the previous protection expired. EdwardUK (talk) 15:55, 2 March 2018 (UTC)
 * The same anonymous user has been vandalising York content on the Sutton Trust and Russell Group pages. These have been reverted by me and another user and warnings issued on their talk page. It seems that blocking them from editing here has meant they've taken their campaign elsewhere! Robminchin (talk) 02:30, 8 March 2018 (UTC)

Coat of Arms
As there appears to have been some editing back-and-forth about this, I thought I would open this discussion thread and invite and  to participate. The practice on most UK university pages is to have the coat of arms at the top of the infobox (using the image_name= parameter) and the logo at the bottom (using the logo= parameter), e.g. King's College London, University of Oxford, University of Cambridge. Generally, this is done except where there is no coat of arms, e.g. University College London. This article currently, and rather oddly, has the logo in both positions, meaning it is shown twice. I would favour following standard practice and having both the coat of arms and the logo in the infobox. Robminchin (talk) 05:56, 10 September 2017 (UTC)

 * Seconded. I added the coat of arms a little while back to bring the page in line with other university pages, as you mentioned. There was talk a few years ago about the main image (https://en.wikipedia.org/wiki/Talk:University_of_York/Archive_1#Main_image) where the main issues seemed to be that the image wasn't the official coat of arms and that the coat of arms is intended for official use only. The following link outlines that this is indeed the official coat of arms: https://www.york.ac.uk/staff/external-relations/brand/logo/ and, to quote, the University's visual identity guidelines don't apply to us - they're internal procedures to be followed for official University publications. I've added the coat of arms back for now but this can be altered if has any other concerns. Woodopal (talk) 01:42, 17 September 2017 (UTC)

External links modified
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 * Added archive https://web.archive.org/web/20080305032919/http://www.york.ac.uk/admin/presspr/40thanniversary/vcs.htm to http://www.york.ac.uk/admin/presspr/40thanniversary/vcs.htm
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 * Added archive https://web.archive.org/web/20100211024227/http://www.york.ac.uk/admin/vco/chancellor.htm to http://www.york.ac.uk/admin/vco/chancellor.htm
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Splitting Proposal
I would like to propose that we split the Campus East section into its own article as there are various subjects which I believe should have a mention such as the Piazza building and Ron Cooke Hub. Adding them to the main university article would make the article too lengthy and they are not notable enough for their own articles. I have already completed a new page which includes information from the Expansion section on this article but thought it best to ask before I publish the page. Also apologises for any mistakes im still relatively new to Wikipedia TheUpperNile (talk) 17:04, 30 May 2023 (UTC)
 * In principle, yes, although this depends on whether Campus East is sufficiently notable in its own right – possibly consider having an article on the campus as a whole rather than on a section of it. If you have the article in draft space, you can share the link here prior to publishing it to main space so other editors can look at it and give advice. Robminchin (talk) 23:00, 30 May 2023 (UTC)
 * Here is the proposed draft Draft:University of York, Campus East TheUpperNile (talk) 22:04, 31 May 2023 (UTC)

title: Talk:University of York


text:
Rush (Rush album)

Rush is the debut studio album by Canadian rock band Rush. It was released on March 18, 1974, in Canada by Moon Records, the group's own label, before it was released internationally by Mercury Records later that year. Recorded five years after the band's formation, this first release shows much of the hard rock sound typical of many of the popular rock bands emerging earlier in the decade. Rush were fans of such bands as Led Zeppelin, Yes and Cream, and these influences can be heard in most of the songs on the album.

Original drummer John Rutsey performed all drum parts on the album, but was unable to go on extended tours because of complications with his diabetes and so he retired from the band after the album was released. Rutsey worked on lyrics for the album, but never submitted them to the other members of the band. The lyrics were instead entirely composed by vocalist/bassist Geddy Lee and guitarist Alex Lifeson. Rutsey was soon replaced by Neil Peart, who served as both drummer and primary lyricist on all subsequent Rush albums.

Recording and production
The initial recording sessions were produced by Dave Stock at Eastern Sound Studios in Toronto in two days during the Summer of 1973. They were scheduled late at night during the 'dead' time in studios because of the band's low budget and the rates during this period were the cheapest. By request of the band's management, Rush included their version of "Not Fade Away", a staple of the band's live-set during that time, for a possible single-release. The song was eventually released as Rush's debut single in September 1973, backed with "You Can't Fight It", a song originally planned for inclusion on the album, but that idea was scrapped in favour of new songs. From this original recording session, "In the Mood" and "Take A Friend" would be included in the final album.

However, Rush were unhappy with the quality of the first sessions. They moved to Toronto Sound Studios in November 1973 and produced these sessions themselves while achieving a significant improvement in recording quality, with the help of engineer Terry Brown. They added new overdubs to existing backing tracks of "What You're Doing", "Before and After" and "Working Man" from the first session. In the meantime, the band had written new songs that were recorded entirely at Toronto Sound: "Finding My Way", "Need Some Love" and "Here Again". These new songs took the place of songs from the earlier sessions. Both studios used 8-channel multitrack recorders, which was quite primitive for 1973, but the group quickly learned to make the best use of the technology that was available.

In July 2008, Rush discovered a version of "Working Man" with an alternative guitar solo. They allowed the makers of the popular rhythm game Rock Band to use the master tapes for the song's inclusion.

Distribution and release
The band and its management formed their own company, Moon Records, and released the album in Canada. Only 3,500 copies of the original Moon Records LP, catalogue number MN-100, were pressed. The first version of the LP has a cream-coloured label with a blue Moon Records logo and black type.

The album was soon picked up by WMMS, a radio station in Cleveland, Ohio. Donna Halper, a DJ working at the station, selected "Working Man" for her regular play list. Every time the song was played the station received phone calls asking where to buy the record. Copies of the Moon Records album were imported to the Cleveland area and quickly sold out. In the 2010 documentary film Rush: Beyond the Lighted Stage, Halper says that "Working Man" was the perfect song for the Cleveland rock audience, as it was still mostly a factory town in 1974. WMMS later sponsored one of Rush's first performances in the United States, in Cleveland on August 26, 1974.

The record's popularity in Cleveland quickly led to the re-release of the album by Mercury Records. The first Canadian Mercury release on the standard red Mercury label is nearly as rare as the Moon version. It also had the Moon number MN-100 between the run-out grooves, indicating that it was pressed from the same metal stampers as the Moon disc. "A special thank you to Donna Halper for getting the ball rolling" was added to the album credits of this and all later versions.

At this point manager Ray Danniels scraped together an additional $9,000 for producer Terry Brown to professionally re-mix all of the recordings for better sound quality. This remix version was used for later releases, most of which used the Mercury "skyline" record label instead of the red label. A later Moon Records version of undetermined origin has a pink label with grey moon craters.

The original album logo was red, but a printing error made it appear more magenta in colour. This is one of two Rush albums where the cover artwork had printing errors, the other album being Caress of Steel.

The complete album, along with Fly by Night and Caress of Steel, was included as part of the 1978 Anthem release Archives.

Critical reception
Rush received positive reviews upon its 1974 release. Writing for the Ottawa Citizen, Bill Provick gave praise on the band's "immediate acceleration" and "driving, crisp sound", although he felt that "the energy needs a bit more channeling and the arrangements need a touch more refining". Billboard wrote that it "serves up a dose of good hard rock highlighted by the often Robert Plant-like lead vocals of Geddy Lee and the powerful guitar work of Alex Lifeson and solid drumming from John Rutsey."

However, critical reception in later years has been more negative. Greg Prato of AllMusic stated in his review of the album that it was weaker than some of the band's later works, such as Hemispheres and Moving Pictures, because Neil Peart was not yet a part of the band. He finished his review by saying, "While longtime Rush fans can appreciate their debut because they never returned to this style, newcomers should stick with their classics from later years."

Remaster
A remaster was issued in 1997.
 * The tray has a picture of the star with man painting (mirroring the cover art of Retrospective I) with "The Rush Remasters" printed in all capital letters just to the left. All remasters from Rush through Permanent Waves are like this.

Rush was remastered again in 2011 by Andy VanDette for the "Sector" box sets, which re-released all of Rush's Mercury-era albums. The album is included in the Sector 1 set.

The album was remastered and re-released on vinyl in April 2014 as part of a box set to celebrate its 40th anniversary. The 2014 vinyl version included a replica of the original Moon Records label on the LP.

Rush was remastered for vinyl in 2015 as a part of the official "12 Months of Rush" promotion. The high definition master prepared for this release was also made available for purchase in 24-bit/96 kHz and 24-bit/192 kHz formats, at several high-resolution audio online music stores. These masters have significantly less dynamic range compression than the 1997 remasters and the "Sector" remasters by Andy VanDette.

Personnel
Rush
 * Geddy Lee – lead vocals, bass guitar
 * Alex Lifeson – guitar, backing vocals
 * John Rutsey – drums, percussion, backing vocals

Technical personnel
 * Terry Brown – engineer, remixing
 * Paul Weldon – album cover
 * BIC Photography – photography
 * SRO Productions – executive production

title: Rush (Rush album)


text:
Talk:German language

poor article contradicts itself in multiple ways
date=June 2023
 * intro: "or more precisely High German" and table with "Language family ... High German" vs. ISO 639-3 in the talble: "nds – Low German"
 * Low German is not High German
 * nativename in the table: "Deutsch" vs. bar – Bavarian etc. in the table
 * in the various dialects like Bavarian the term for German is different, e.g. in ksh – Kölsch it's Dütsch (cp. WT)
 * WP speaks of "High German languages" (plural), yet this is only "German language" (singular). German is broader than High German, so it should be German languages, or German here is short for Standard German which already has a more proper article.

I am moving this here sic erat from a cleanup hatnote posted by this anonymous user. Dylanvt (talk) 20:56, 14 July 2023 (UTC)

Cluster
From the article:
 * The Low Franconian dialects [...] Nevertheless, topologically these dialects are structurally and phonologically far more similar to Dutch, than to German and form both the smallest and most divergent dialect cluster within the contemporary German language area.

As for the source: Thus: -06:54, 29 August 2023 (UTC)
 * That's not properly cited, as it lacks the other author Jürgen Macha and as the year or edition is wrong (1st 1999, 2nd 2006, 3rd 2014 - 2011 could only be a reprint or a re-release as e-book or something)
 * Quoting from the 3rd ed. as here the text is (basically) the same and as this can still be viewed online: Hermann Niebaum, Jürgen Macha, Einführung in die Dialektologie des Deutschen, 3rd ed., 2014, p. 104 ): "Auf der Karte sind ebenfalls drei Hauptgebiete, erkennbar, die sich, wie Nerbonne/Siedle (2005:[...]) festellen, „im Wesentlichen mit den Verteilungen des Nieder-, Ostmittel- und Oberdeutschen (Cluster 1, 4 und 5) nach traditioneller Einteilung decken, sowie ein heterogenes Gebiet im Westen, das in etwa Ripuarisch (Cluster 3) und Niederrheinisch-Westmünderländisch (Cluster 2) entspricht.“
 * The source doesn't state that Low Franconian is the smallest and most divergent cluster. It's stating that Ripuarisch + Niederrheinisch-Westmünsterländisch form a heterogeneous area. So both the dialect(s) and the degree of comparison (superlative vs. positive) aren't sourced.
 * Article stated: "within the contemporary German language area". There's a difference between "in Germany" and "in the German language area". The German language area also comprehends Austria and Switzerland. As the source only considered Germany, the wording in the article wasn't correct.

Germanics
The German article on the Germanics https://de.wikipedia.org/wiki/Germanen says, that the concept can be defined historically outside the linguistic sphere. Sarcelles (talk) 19:28, 21 April 2024 (UTC)

 * The very concept of Germanics is disputed by science in Germany, this German article says sourcedly. Furthermore, Germanics hardly is used as a concept for the present by Germans nowadays. Sarcelles (talk) 08:16, 25 April 2024 (UTC)
 * One problem here is that "Germanics" is simply not a term found in the English-language literature, so arguing that there's something wrong with it is entirely beside the point. --Pfold (talk) 08:45, 25 April 2024 (UTC)
 * The word "Germanics" doesn't appear in the article, so why are you discussing this here? Largoplazo (talk) 09:56, 25 April 2024 (UTC)
 * 12 pages link to Germanics, a redirect to German peoples.
 * Maybe we should discuss this on another talk page. Sarcelles (talk) 04:51, 26 April 2024 (UTC)

title: Talk:German language


text:
Talk:Aristotle Onassis

First name
Why is the first name written "Aristotle" in this article? I understand that there is a (centuries long) convention of writing the ancient Greek philosopher's name (incorrectly) as "Aristotle", but Onassis is a different person, and his name is "Aristoteles", not "Aristotle". — Preceding unsigned comment added by 130.233.179.227 (talk) 05:42, 10 February 2017 (UTC)

jae (talk) 13:44, 6 February 2024 (UTC)

Monaco
In the 1960s there were rumours that Onassis was trying to gain control of Monaco. Quentin Crewe reported that they weren't true. They appear to have originated when Onassis gained a controlling stake in Société des bains de mer de Monaco. Does anyone know any more about this? cagliost (talk) 16:08, 19 June 2014 (UTC)

Draft:

Monaco
In 1952, Onassis started buying shares in Société des bains de mer de Monaco, which had been making losses. He soon owned a controlling interest. However, Prince Rainier retained a veto over decisions.

Onassis wanted to help develop Monaca. He had the idea that Prince Rainier of Monaco should improve the image of Monaco, then considered rather seedy, by marrying an American film star. Rainier eventually married Grace Kelly, with Onassis making a contribution towards the cost of the wedding.

Onassis wanted to transform Monaco from a little-developed principality into a "playground for the rich", but Rainier wanted a greater variety of industries. Onassis sought support from the National Council of Monaco, and there were even rumours that he was trying to take over the country. These rumours were dispelled by journalist Quentin Crewe.

In 1964, Rainier regained control over SBM by creating 600,000 new shares, to be controlled by the state. Within a week, Onassis left Monaco on his yacht.

Bisexuality
This article does not mention Onassis's bixsexuality. I came here to read more about it. Can somebody please put that in? Thanks.

Edit of Lead paragraph - Jan 2015
this article was tagged for needing a fuller lead paragraph. I have edited the lead in an effort to address this and I have removed the tag. Feel free to improve upon my efforts. Mdukas (talk) 07:16, 7 January 2015 (UTC)

Definition of a stepchild -- does it apply to Arabella and Patrick?
The infobox lists Arabella Kennedy as stepdaughter and Patrick Kennedy as stepson. Both died years before their mother married Onassis. Is it accurate to call them his stepchildren? Is a stepchild anyone whose parent one ever married? Or is it only if the marriage occurs during the child's lifetime?47.139.42.69 (talk) 07:31, 21 August 2016 (UTC)

 * Unlike being a biological parent necessarily, step-parenting is an ACTIVITY and Onassis never got the chance to be an active step-parent for them. It's definitely, at least, a stretch to call them his stepchildren. Since Wikipedia pages are limited in size, with excessive trivia out of the bounds, I'm sure you can remove said info at will. ToniTurunen (talk) 12:05, 15 January 2022 (UTC)

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Mobil is Socony
A quote from the article:

'Onassis made large profits when the Big Oil companies like Mobil, Socony, and Texaco..'

Now, 'Socony' is Standard Oil Company of New York. In 1920, the company registered the name "Mobiloil" as a trademark. In 1955, Socony-Vacuum was renamed Socony Mobil Oil Company. In 1963, it changed its trade name from "Mobiloil" to simply "Mobil". So my point is that 'Socony' and 'Mobil' are the same thing. I'm making this little quibble, is all..I think the sentence could be rephrased.

While I am at it, I'm reading here about how these boats had Panamanian flags etc. Now, of course, Aristotle Onassis was the most famous shipowner of all. And he was at the peak of his energies and creative powers in, like, the 1950s. And of course, he was seldom out of the limelight during this period. But when was this business concerning Panamanian flags? I quote:

'Onassis built up a fleet of freighters and tankers that eventually exceeded seventy vessels. Onassis's fleet had Panamanian flags and sailed tax-free while operating at low cost. Because of this, Onassis could turn a profit in every transaction, even though he charged one of the lowest prices in the merchant navy market. Onassis made large profits when the Big Oil companies like Mobil, Socony, and Texaco signed long-term contracts at fixed prices with him..'

Okay, I read 'exceeded seventy vessels', when my understanding is that 'peak of 67 vessels' is accurate. Of course we need a reference, but what is the current reference? And about these Panamanian flags..there is a notion of 'flags of convenience' but I find the way that it is touched on here to be rather breezy and tendentious. Note that one of the world’s busiest shipping lanes (one of the world's most important marine trade routes) is the Panama Canal. Being registered under Panama's flag enables ships to pass through, maybe? Note that Panama has the largest shipping fleet in the world, greater than those of the US and China combined. That's interesting, sure, but it's also not simply about Aristotle Onassis. I think it is true, that most merchant ships flying Panama's flag belong to foreign owners wishing to avoid the stricter marine regulations imposed by their own countries. About 8,600 ships fly the Panamanian flag. By comparison, the US has around 3,400 registered vessels.

I find these parts of the article to be stated at an oddly low sort of level, like I'm reading a conspiracy theory -- let's go through some of this:

'Onassis could turn a profit in every transaction, even though he charged one of the lowest prices in the merchant navy market...'

Okay, is it relevant, here, that in the middle nineteen‐fifties he ordered five 28,500‐ton tankers at a cost of $35‐million. Mr. Onassis had been told that such supertankers would never make money, as they could not negotiate the Suez Canal. A decade later he and other shipowners were building 250,000‐tonners. You see, the closing of the canal in 1956 by President Gama Abdel Nasser of the United Arab Republic was a stroke of luck for Mr. Onassis, who made millions with his speedy supertanker hauls around the Cape of Good Hope. And where the 1967 Arab‐Israeli was again closed the canal, the freight rate on oil soared from $5 to $18 a ton. By 1974, with the advent of the oil crisis, the price had almost doubled.

I am sorry about not offering better references -- I didn't mean to put any time into this. I'm just a drive-by snarker, and no expert on the subject. DanLanglois (talk) 21:45, 30 September 2017 (UTC)

Birth date
Lede has 20 January, infobox has 15 January. Needs fixing. --  Jack of Oz   [pleasantries]  21:48, 8 January 2018 (UTC)

Peter Evans' authorized biography has Onassis born in 1900. — Preceding unsigned comment added by BadMonkeyBad (talk • contribs) 14:50, 1 February 2019 (UTC)

Who is this guy?
Mavros John Jack 'jj' Onassis - never heard of him or any offspring of Jackie Kennedy and Aristotle Onassis. Cross Reference (talk) 05:42, 24 November 2018 (UTC)
 * That's because it's vandalism. Tvoz / talk 05:49, 30 November 2018 (UTC)

Short description 🇬🇷
The short description, which should be CONCISE, says the living years twice - “20th-century” and “(1906–1975)”. Either could be removed. ToniTurunen (talk) 15:44, 14 January 2022 (UTC)

Ottoman-born
@Unkownsolidier Aristotle Onassis was born an Ottoman subject, on Ottoman land. I don't care even if this fact was a bleeding wound on his soul. I can give you a well example or two of Wikipedia articles labeling people born on somewhere other than their ancestral country as a national of the place they born, even if they were complete strangers to that said place. In Aristotle's case, he and his ancestors lived under the Ottoman flag for generations. It is noteworthy that this guy was Ottoman-born, and I see no reason to not mention it on the lead. Yuzerneim (talk) 15:46, 12 October 2023 (UTC)

 * Okay yeah he was born in the Ottoman Empire and that is detailed on the page itself. I just don't think it's necessary to have it at that specific section. Aristotle Onassis was Greek and the "Ottoman-born" just doesn't fit with that. They were Ottoman Greeks sure, but that's a bit different. Unkownsolidier (talk) 16:02, 12 October 2023 (UTC)
 * Why doesn't it fit with that? Why'd you think so? Yuzerneim (talk) 20:33, 12 October 2023 (UTC)
 * Ottoman means Turkish. I know you probably mean this as an "Ottoman nationality" but it is not appropriate. All non-Turkish individuals born in lands of the Ottoman Empire are referred to in historiography by their separate ethnicities and definitely not as "Ottomans" or "Ottoman-born", which is a designation kept solely for individuals of Turkish heritage. That's why, all sources unanimously describe Onassis simply as Greek (not even Argentine). Wikipedia, as a tetriary source, follows the information acquired from reliable secondary sources. Piccco (talk) 22:07, 12 October 2023 (UTC)
 * Then what people born on Ottoman land called collectively, if it's not "Ottoman"? By this logic you must be doing the same with non-Latin people born and raised in Spain, therefore would you not call a Basque person a Spanish? Yuzerneim (talk) 18:55, 13 October 2023 (UTC)
 * It doesn't matter what we might call them collectively, because here and in every article we focus on people individually. The Ottoman Empire, like all empires by definition, was multinational and we cannot really compare it to modern countries/nation-states. In regards to non-Turkish Ottoman subjects particularly, in both wikipedia and sources they are typically refer to by their ethnic groups i.e. Greek, Serbian, Albanian etc. especially if their ethnic group is related to their notability. "Ottoman-born" is arguably irrelevant to Onassis' notability. Piccco (talk) 21:57, 13 October 2023 (UTC)
 * Hmm.. maybe you're right. Yuzerneim (talk) 10:58, 15 October 2023 (UTC)

title: Talk:Aristotle Onassis


text:
Blake (surname)

Blake is a surname which originated from Old English. Its derivation is uncertain; it could come from "blac", a nickname for someone who had dark hair or skin, or from "blaac", a nickname for someone with pale hair or skin. Another theory, presumably in the belief it is a Welsh patronymic in origin, for which there is no evidence, was that it is a corruption of "Ap Lake", meaning "Son of Lake".

Blake was the name of one of the 14 Tribes of Galway in Ireland. These Blakes were descendants of Richard Caddell, alias Blake, who was involved in the Norman invasion of Ireland in 1169. As such a long present foreign name, it became known as de Bláca in Irish.

The origins of the name Blake are also considered to be Old Norse, first appearing in Yorkshire, England, possibly derived from the word Blaker, referring to a village and a former municipality of Akershus county, Norway (east of Oslo).

Blake often refers to the British poet, painter and printmaker William Blake (1757–1827).

A

 * Ackeem Blake (born 2002), Jamaican sprinter
 * Adam Blake (musician) (born 1976), English musician
 * Adrian Blake (born 2005), English footballer
 * Aisling Blake (born 1981), Irish squash player
 * Alan Blake (1922–2010), New Zealand rugby union footballer
 * Alan Blake (rugby league), Australian rugby league footballer
 * Alex Blake (disambiguation), multiple people
 * Alfonso Corona Blake (1919–1999), Mexican film director
 * Alfred Blake (1915–2013), British politician
 * Ally Blake, Australian writer
 * Amanda Blake (1929–1989), American actress
 * Andre Blake (born 1990), Jamaican footballer
 * Andrew Blake (disambiguation), multiple people
 * Ann Blake, Irish musician
 * Anna Blake (disambiguation), multiple people
 * Annie Blake, Canadian politician
 * Anthony Blake (disambiguation), multiple people
 * Arron Blake (born 1987), English actor
 * Archie Blake (mathematician) (1906–??), American mathematician
 * Arthur Blake (disambiguation), multiple people
 * Asha Blake (born 1961), American journalist
 * Ashley Blake (born 1969), British television presenter
 * Ashley Herring Blake, American author
 * Avery Blake (1907–1975), American lacrosse player

B

 * Bandsman Jack Blake (1890–1960), British boxer
 * Barbara Hibbs Blake (1937–2019), American professor
 * Barry Blake (born 1937), Australian linguist
 * Benjamin Blake (1751–1827), English violinist
 * Bernard Blake (born 1992), American football player
 * Bert Blake (1908–1986), English footballer
 * Betty Blake (1931–1982), American preservationist
 * Betty Tackaberry Blake (1920–2015), American pilot
 * Billy Blake (1902–??), English footballer
 * Blind Blake (1896–1934), American musician
 * Bob Blake (disambiguation), multiple people
 * Bobby Blake (born 1957), American religious figure
 * Brayon Blake (born 1995), American basketball player
 * Brian Blake (disambiguation), multiple people
 * Brock Blake, American entrepreneur
 * Bruce Blake (judge) (1881–1957), American judge
 * Bruce P. Blake, American bishop
 * Bud Blake (1918–2005), American cartoonist

C

 * Callum Blake (born 1994), Ni-Vanuata cricketer
 * Caroline Blake (1835–1919), Irish landlord
 * Caroline Placide Waring Blake (1798–1881), American actress
 * Casey Blake (born 1973), American baseball player
 * Casey Nelson Blake, American historian
 * Catherine Blake (disambiguation), multiple people
 * Charles Blake (disambiguation), multiple people
 * Charlotte Blake (1885–1979), American composer
 * Chris Blake (born 1971), Welsh lawn bowler
 * Christian Blake (born 1996), American football player
 * Christopher Blake (1949–2004), English actor
 * Christopher Blake (archer) (born 1953), Australian archer
 * Cliff Blake, Australian agriculturalist
 * Curtis Blake (1917–2019), American businessman
 * Cyril Blake (1900–1951), Trinidadian trumpeter

D

 * Dan Blake (1882–1953), American football player
 * Darcy Blake (born 1988), Welsh footballer
 * David Blake (disambiguation), multiple people
 * Dave Blake (1925–2008), Canadian politician
 * Dennis Blake (born 1970), Jamaican sprinter
 * Derek Blake, British researcher
 * Dominick Blake (1806–1859), Irish clergyman
 * Dominique Blake (born 1987), Jamaican sprinter
 * Donald Blake (disambiguation), multiple people
 * Donovan Blake (born 1961), Jamaican-American cricketer
 * Doris Blake (disambiguation), multiple people
 * Dusty Blake (born 1982), American baseball coach

E

 * Ed Blake (1925–2009), American baseball player
 * Eddie Blake (disambiguation), multiple people
 * Edith Blake (1846–1926), Irish illustrator
 * Edith Blake (tennis) (1861–1939), English tennis player
 * Edmond Blake (1803–1895), American politician
 * Edward Blake (1833–1912), Canadian politician
 * Edward Reed Blake (1844–1932), American politician
 * Edwin Blake (1830–1914), New Zealand politician
 * E. E. Blake (1879–1961), English businessman
 * Eileen Blake (1878–1957), British artist
 * Elijah Blake (born 1982), Dominican-American singer
 * Eli Whitney Blake (1795–1886), American inventor
 * Eli Whitney Blake Jr. (1836–1895), American scientist
 * Emmet Reid Blake (1908–1997), American ornithologist
 * Eric Blake (born 1946), British boxer
 * Ernest Blake (disambiguation), multiple people
 * Ernie Blake (1913–1989), German entrepreneur
 * Esther McGowin Blake (1897–1979), American pilot
 * Eubie Blake (1887–1983), American pianist
 * Eugene Carson Blake (1906–1985), American religious figure
 * Euphemia Vale Blake (1817–1904), American author
 * Evon Blake (1906–1988), Jamaican journalist

F

 * Florence Blake (1907–1983), American nurse
 * Florence Turner Blake (1873–1959), Australian teacher
 * Francis Blake (disambiguation), multiple people
 * Frank Blake (born 1949), American businessman
 * Frank Blake (American football), American football coach
 * Frederic Columbus Blake, American engineer
 * Frederick Blake (disambiguation), multiple people

G

 * Geoffrey Blake (disambiguation), multiple people
 * George Blake (disambiguation), multiple people
 * Gerald Blake (disambiguation), multiple people
 * Gil Blake, American investor
 * Gillian Blake (born 1949), British actress
 * Gladys Blake (1910–1983), American character actress
 * Gladys Blake (writer), American writer
 * Gordon Blake (1910–1997), American general
 * Grey Blake (1902–1971), British actor

H

 * Hamish Blake (born 1981), Australian comedian
 * Harold Henry Blake (1883–1960), British medical officer
 * Harris Blake (1929–2014), American politician
 * Harrison G. O. Blake (1818–1876), American politician
 * Harry Blake (disambiguation), multiple people
 * Helen Blake (born 1951), Jamaican sprinter
 * Henry Blake (disambiguation), multiple people
 * Herbert Blake (1894–1958), English footballer
 * Homer C. Blake (1822–1880), American naval officer
 * Howard Blake (born 1938), British composer

I

 * Inés Joyes y Blake (1731–1808), Spanish translator
 * Isidore Blake (1812–1882), Irish-Australian politician

J

 * Jack Blake (born 1994), English footballer
 * Jackson Blake (born 2003), American ice hockey player
 * James Blake (disambiguation), multiple people
 * Jameson Blake (born 1997), Filipino-American actor
 * Jamie Blake (born 1975), American singer-songwriter
 * Jan Blake (fl 1988), British storyteller
 * Janet Blake (??–1981), Canadian-American farmer
 * Jared Blake, American singer
 * Jason Blake (disambiguation), multiple people
 * Jay Don Blake (born 1958), American golfer
 * Jeff Blake (born 1970), American football player
 * Jennifer Blake (disambiguation), multiple people
 * Jere Blake (1875–1933), Welsh rugby union footballer
 * Jeremy Blake (1971–2007), American video artist and painter
 * Jerome Blake (born 1995), Canadian athlete
 * Jerry Blake (1908–1961), American saxophonist
 * Jim Blake (Australian politician) (1921–2010), Australian politician
 * Joaquín Blake (1759–1827), Spanish military officer
 * Joe Blake (1882–1931), English footballer
 * Joey Blake (born 1967), American tennis player
 * John Blake (disambiguation), multiple people
 * Johnathan Blake (born 1976), American drummer
 * Johnny Blake (born 1930), Australian rules footballer
 * Jon Blake (disambiguation), multiple people
 * Jonathan Blake (born 1987), American basketball player
 * Jonathan Blake (activist) (born 1949), British activist
 * Jorge Méndez Blake (born 1974), Mexican artist
 * Joseph Blake (disambiguation), multiple people
 * Josh Blake (born 1998), English cricketer
 * J. P. Blake (1874–1950), British politician
 * Judith Blake (disambiguation), multiple people
 * Julia Blake (born 1936), British-Australian actress
 * Juliet Blake, British-American film producer

K

 * Karen Blake, American disk jockey
 * Karl Blake (born 1956), English musician
 * Katharine Blake (actress) (1921–1991), South African actress
 * Katharine Blake (singer) (born 1970), British singer
 * Kathy Blake (born 1946), American tennis player
 * Kayla Blake (born 1963), American actress
 * Kendare Blake, American author
 * Korban Blake, British author

L

 * Larry Blake (disambiguation), multiple people
 * Lewis Blake (born 1946), British poet
 * Lillie Devereux Blake (1835–1913), American suffragist
 * Loretta Blake (1898–1981), American actress
 * Lottie Isbell Blake (1876–1976), American physician
 * Lucius S. Blake (1816–1894), American businessman
 * Lucy Blake, American conservationist
 * Luke Blake, English rugby league footballer
 * Lyman Reed Blake (1835–1883), American inventor
 * Lynda Goodsell Blake (1906–1989), American missionary

M

 * Madge Blake (1899–1969), American actress
 * Margaret Day Blake (1876–1971), American art collector
 * Marion Elizabeth Blake (1892–1961), American professor
 * Mark Blake (disambiguation), multiple people
 * Marsha Stephanie Blake (born 1974), American actress
 * Martin Blake (disambiguation), multiple people
 * Marty Blake (1927–2013), American basketball executive
 * Matthew Blake (disambiguation), multiple people
 * Maurice Blake (disambiguation), multiple people
 * M. Brian Blake (born 1971), American computer engineer
 * Megan Blake (born 1959), American actress
 * Melanie Blake (born 1976), English talent agent and author
 * Melissa Blake, Canadian politician
 * Mervyn Blake (1907–2003), Canadian actor
 * Michael Blake (disambiguation), multiple people
 * Mick Blake (1874–1931), Australian rules footballer
 * Mickey Blake (1912–2000), Canadian ice hockey player
 * Millicent Kittredge Blake (1822–1907), American educational pioneer
 * Minden Blake (1913–1981), New Zealand pilot
 * Molly Blake (1917–2011), British illustrator
 * Morgan Blake (1889–1953), American sportswriter

N

 * Naomi Blake (1924–2018), British sculptor
 * Natalie Blake (born 1982), British powerlifter
 * Nathan Blake (born 1972), Welsh footballer
 * Nayland Blake (born 1960), American artist
 * Nicholas Blake (disambiguation), multiple people
 * Nickardo Blake (born 1989), Jamaican-American footballer
 * Nils Blake, Swedish nobleman
 * Noel Blake (born 1962), Jamaican footballer
 * Nola Blake, Australian criminal
 * Norman Blake (disambiguation), multiple people
 * Nyle Blake (born 1999), English footballer

O

 * Olivia Blake (born 1990), British politician
 * Oliver Blake (1802–1873), American-born Canadian businessman and political figure
 * Olivie Blake (born 1989), American author

P

 * Pamela Blake (1915–2009), American actress
 * Patrick Blake (disambiguation), multiple people
 * Paul Blake (disambiguation), multiple people
 * Perry Blake (born 1970), Irish singer-songwriter
 * Peter Blake (disambiguation), multiple people
 * Phil Blake (born 1963), Australian rugby league footballer
 * Philip Blake (disambiguation), multiple people
 * P. L. Blake (born 1936), Canadian football player

Q

 * Quentin Blake (born 1932), English cartoonist

R

 * Rachael Blake (born 1971), Australian actress
 * Ran Blake (born 1935), American pianist
 * Randolph Blake (born 1945), American psychologist
 * Randy Blake (born 1986), American kickboxer
 * Rebecca Blake (born 1998), Romanian cricketer
 * Renée A. Blake, American professor
 * Richard Blake (disambiguation), multiple people
 * Ricky Blake (born 1967), American football player
 * Rob Blake (born 1969), Canadian ice hockey player
 * Robbie Blake (born 1976), English footballer
 * Robert Blake (disambiguation), multiple people
 * Robson Blake (born 1995), Welsh rugby union footballer
 * Rockwell Blake (born 1951), American operatic tenor
 * Rod Blake (born 1952), Australian rules footballer
 * Rodney Blake (born 1983), Australian rugby union footballer
 * Rodney Blake (basketball) (born 1966), American basketball player
 * Roger Blake (born 1957), Welsh actor
 * Ronald James Blake (born 1934), English civil engineer
 * Ronnie Blake (born 1972), American trumpeter
 * Roy Blake (disambiguation), multiple people
 * Russell Blake (disambiguation), multiple people
 * Ruth Blake, American geophysicist
 * Ryan Blake (disambiguation), multiple people

S

 * Samuel Blake (1807–1887), American politician
 * Samuel Hume Blake (1835–1914), Canadian politician
 * Sarah Blake (disambiguation), multiple people
 * Scott Blake (born 1976), American artist
 * Seamus Blake (born 1970), British-Canadian saxophonist
 * Sharon Magness Blake (born 1950), American horse breeder
 * Sheriff Blake (1899–1982), American baseball player
 * Sian Blake (1972–2016), British actress
 * Sidney Fay Blake (1892–1959), American botanist
 * Stan Blake (born 1954), American politician
 * Stanley Thatcher Blake (1910–1973), Australian botanist
 * Stephanie Blake (born 1968), American actress
 * Stéphanie Blake (born 1968), American author
 * Stephen S. Blake, (1843–1929), Irish-American lawyer
 * Steve Blake (born 1980), American basketball player
 * Steve Blake, London based disc jockey
 * S. Prestley Blake (1914–2021), American businessman
 * Susie Blake (born 1950), English actress
 * Susy Blake, American politician

T

 * Tamlin Blake (born 1974), South African artist
 * Tanya Blake (born 1971), British runner
 * Tchad Blake (born 1955), American record producer
 * Ted Blake (1921–1998), British inventor
 * Thomas Blake (disambiguation), multiple people
 * Tia Blake (1952–2015), American singer-songwriter and writer
 * Tim Blake (born 1952), English musician
 * Timothy Blake, American actress
 * Toe Blake (1912–1995), Canadian ice hockey player and coach
 * Tom Blake (disambiguation), multiple people
 * Tony Blake (disambiguation), multiple people
 * Torita Blake (born 1995), Australian athlete
 * Tra Blake, American referee
 * Trevor Blake (disambiguation), multiple people

V

 * Valentine Blake (disambiguation), multiple people
 * Valentino Blake (born 1990), American football player
 * Val Ffrench Blake (1913–2011), English horse breeder
 * Vivian Blake (1956–2010), Jamaican drug dealer
 * Vivian Blake (politician) (1921–2000), Jamaican lawyer and politician

W

 * Walter Blake (disambiguation), multiple people
 * Waqa Blake (born 1994), Fijian rugby league footballer
 * Wesley Blake (born 1987), American wrestler
 * Whitney Blake (1926–2002), American actress
 * Wilfred Theodore Blake (1894–1968), English aviator
 * Will Blake (born 1991), American painter
 * William Blake (disambiguation), multiple people
 * Winston Blake (1940–2016), Jamaican producer

Y

 * Yohan Blake (born 1989), Jamaican sprinter
 * Yve Blake, Australian screenwriter
 * Yvonne Blake (1940–2018), British costume designer

Z

 * Zoë Foster Blake (born 1980), Australian author

Fictional characters

 * Anita Blake, in the book series Anita Blake: Vampire Hunter
 * Daphne Blake, on the television series Scooby-Doo
 * Ellen Blake, a character played by Loni Anderson in the 1984 TV movie My Mother's Secret Life
 * Nico Blake, on the soap opera Hollyoaks
 * Bellamy and Octavia Blake, on the television series The 100
 * Roj Blake of the eponymous television series Blake's Seven
 * Sexton Blake, in various British comic series
 * Sienna Blake, a character on the soap opera Hollyoaks

title: Blake (surname)