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Peter Fonda

Peter Henry Fonda (February 23, 1940 – August 16, 2019) was an American actor. He was the son of Henry Fonda, younger brother of Jane Fonda, and father of Bridget Fonda. He was a prominent figure in the counterculture of the 1960s. Fonda was nominated for the Academy Award for Best Original Screenplay for Easy Rider (1969), and the Academy Award for Best Actor for Ulee's Gold (1997). For the latter, he won the Golden Globe Award for Best Actor – Motion Picture Drama. Fonda also won the Golden Globe Award for Best Supporting Actor – Series, Miniseries or Television Film for The Passion of Ayn Rand (1999).

Early life
Fonda was born by caesarean section on February 23, 1940 at LeRoy Hospital in New York City, the only son of actor Henry Fonda and socialite Frances Ford Seymour; his older sister is actress Jane Fonda. He and Jane had a half-sister, Frances de Villers Brokaw (1931–2008), from their mother's first marriage. Their mother committed suicide in a mental hospital when Peter, her youngest, was ten. He did not discover the circumstances or location of her death until he was fifteen.

One month prior to his eleventh birthday, he accidentally shot himself in the abdomen and nearly died. He went to the Indian hill station of Nainital and stayed for a few months for recovery. Years later, while taking LSD with John Lennon and George Harrison, he referred to this incident, saying, "I know what it's like to be dead." This inspired The Beatles' song "She Said She Said".

Peter attended the Fay School in Southborough, Massachusetts, and was a member of the Class of 1954. He then matriculated in Westminster School, a Connecticut boarding school in Simsbury, where he graduated in 1958.

Once he graduated, Fonda studied acting in Omaha, Nebraska, his father's hometown. While attending the University of Nebraska-Omaha, Fonda joined the Omaha Community Playhouse.

Early years and film work
Upon his return to New York, Fonda joined the Cecilwood Theatre in 1960. Afterwards, he found work on Broadway and gained notice in Blood, Sweat and Stanley Poole, written by James and William Goldman, which ran for 84 performances in 1961. Fonda began guest starring on television shows like Naked City, The New Breed, Wagon Train, and The Defenders.

Fonda's first film came when producer Ross Hunter was looking for a new male actor to romance Sandra Dee in Tammy and the Doctor (1963). He was cast in the role, in what was a minor hit. He followed this with a support part in The Victors (1963), a bleak look at American soldiers in World War II, directed by Carl Foreman. Fonda's performance won him a Golden Globe Award for most promising newcomer.

Fonda continued to work in television, guest starring in Channing, Arrest and Trial, The Alfred Hitchcock Hour, and 12 O'Clock High. He also tested for the role of John F. Kennedy in PT-109. Fonda impressed Robert Rossen who cast him in what would be Rossen's last movie, Lilith (1964), alongside Warren Beatty, Jean Seberg and Gene Hackman. Fonda's performance was well reviewed. Shortly before dying, Rossen signed him to a seven-film contract which was to start with an adaptation of Bang the Drum Slowly. Fonda graduated to a starring role in The Young Lovers (1964), about out-of-wedlock pregnancy, the sole directorial effort of Samuel Goldwyn Jr.

Counterculture figure and Roger Corman
By the mid-1960s, Fonda was not a conventional "leading man" in Hollywood. As Playboy magazine reported, Fonda had established a "solid reputation as a dropout". He had become outwardly nonconformist and grew his hair long and took LSD regularly, alienating the "establishment" film industry. Desirable acting work became scarce. Through his friendships with members of the band The Byrds, Fonda visited The Beatles in their rented house in Benedict Canyon in Los Angeles in August 1965. While John Lennon, Ringo Starr, George Harrison, and Fonda were under the influence of LSD, Lennon heard Fonda say, "I know what it's like to be dead." Lennon used the phrase in the lyrics for his song, "She Said She Said", which was included on their 1966 album, Revolver.

In August 1966 Fonda was charged with possession of marijuana, and was later acquitted in December of that year. In November 1966 Fonda was arrested in the Sunset Strip riot, which the police ended forcefully. The band Buffalo Springfield protested the department's handling of the incident in their song "For What It's Worth". In 1967, Fonda recorded "November Night", a 45-rpm single written by Gram Parsons for the Chisa label, backed with "Catch the Wind" by Donovan, produced by Hugh Masekela.

Fonda's first counterculture-oriented film role was as a biker in Roger Corman's B movie The Wild Angels (1966). Fonda originally was to support George Chakiris, but graduated to the lead when Chakiris revealed he could not ride a motorcycle. In the film, Fonda delivered a "eulogy" at a fallen Angel's funeral service. The movie was a big hit at the box office, screened at the Venice Film Festival, launched the biker movie genre, and established Peter Fonda as a movie name. Fonda made a television pilot, High Noon: The Clock Strikes Noon Again, filmed in December 1965. It was based on the film High Noon (1952), starring Gary Cooper, with Fonda in the Cooper role. However, it did not become a series.

Fonda next played the male lead in Corman's film The Trip (1967), a take on the experience and "consequences" of consuming LSD, which was written by Jack Nicholson. His co-stars included Susan Strasberg, Bruce Dern, and Dennis Hopper. The movie was a hit. Fonda then traveled to France to appear in the portmanteau horror movie Spirits of the Dead (1968). His segment co-starred his sister Jane and was directed by her then-husband Roger Vadim. For American television, he appeared in a movie, Certain Honorable Men (1968), alongside Van Heflin, written by Rod Serling.

Easy Rider
Fonda produced, co-wrote and starred in Easy Rider (1969), directed by Dennis Hopper. Easy Rider is about two long-haired bikers traveling through the southwestern and southern United States where they encounter intolerance and violence. Fonda played "Wyatt", a charismatic, laconic man whose motorcycle jacket bore a large American flag across the back. Dennis Hopper played the garrulous "Billy". Jack Nicholson played George Hanson, an alcoholic civil rights lawyer who rides along with them. Fonda co-wrote the screenplay with Terry Southern and Hopper.

Fonda tried to secure financing from Roger Corman and American International Pictures (AIP), with whom he had made The Wild Angels and The Trip, but they were reluctant to finance a film directed by Hopper. They succeeded in getting money from Columbia Pictures. Hopper filmed the cross-country road trip depicted almost entirely on location. Fonda had secured funding of around $360,000, largely based on the fact he knew that it was the budget Roger Corman needed to make The Wild Angels. The guitarist and composer Robbie Robertson, of The Band, was so moved by an advance screening that he approached Fonda and tried to convince him to let him write a complete score, even though the film was nearly due for wide release. Fonda declined the offer, instead using Steppenwolf's "Born to Be Wild", Bob Dylan's "It's Alright, Ma (I'm Only Bleeding)" sung by The Byrds' Roger McGuinn, and Robertson's own composition "The Weight", performed by The Band, among many other tracks.

The film was released to international success. Jack Nicholson was nominated for a Best Supporting Actor Oscar. Fonda, Hopper and Southern were nominated for the Academy Award for Best Original Screenplay. The film grossed over $40 million.

Director and action star
After the success of Easy Rider, both Hopper and Fonda were sought for film projects. Hopper directed the film The Last Movie (1971), in which Fonda co-starred along with singer Michelle Phillips of The Mamas and the Papas. Fonda directed and starred in the Western film The Hired Hand (1971). He took the lead role in a cast that also featured Warren Oates, Verna Bloom and Beat Generation poet Michael McClure. The film received mixed reviews and failed commercially upon its initial release, but many years later, in 2001, a fully restored version was shown at various film festivals and was re-released by the Sundance Channel on DVD that same year in two separate editions. Fonda later directed the science fiction film Idaho Transfer (1973). He did not appear in the film, and the film received mixed reviews upon its limited release. Around the same time, he co-starred with Lindsay Wagner in Two People (also 1973) for director Robert Wise, in which he portrayed a Vietnam War deserter.

Fonda starred alongside Susan George and longtime-friend (and frequent co-star) Adam Roarke in the film Dirty Mary, Crazy Larry (1974), a film about two NASCAR hopefuls who execute a supermarket heist to finance their jump into big-time auto racing. The film was a box-office hit that year. It led to Fonda's making a series of action movies: Open Season (1974), with William Holden; Race with the Devil (1975), fleeing devil worshippers with Warren Oates (another hit); 92 in the Shade (1975), again with Oates, for writer-director Thomas McGuane; Killer Force (1976) for director Val Guest; Futureworld (1976), a sequel to Westworld (1973), financed by AIP; Fighting Mad (1976), a reuniting with Roger Corman, directed by Jonathan Demme.

Outlaw Blues (1977) was a drama, with Fonda playing a musician opposite Susan Saint James. After some more action with High-Ballin' (1978), Fonda returned to directing, with the controversial drama Wanda Nevada (1979), wherein the 39-year-old Fonda starred as the "love" interest of the then 13-year-old Brooke Shields. His father, Henry Fonda, made a brief appearance as well, and it is the only film in which they performed together.

1980s and 1990s
Fonda was top billed in The Hostage Tower (1980), a television movie based on a story by Alistair MacLean. Fonda appeared in the hit film The Cannonball Run (1981) as the "chief biker", a tongue-in-cheek nod to his earlier motorcycle films. He also played a charismatic cult leader in Split Image (1982), a film that also starred James Woods, Karen Allen and Brian Dennehy. Despite the strong cast and positive reviews, the film failed to find an audience.

Fonda later appeared in a series of films in the 1980s of varying genres — Daijōbu, My Friend (1983), shot in Japan; Dance of the Dwarfs (1983); Peppermint Peace (1983), shot in Germany;  Spasms (1983), a Canadian horror film with Oliver Reed; A Reason to Live (1985), a TV movie; Certain Fury (1985), with Tatum O'Neal; Mercenary Fighters (1988); Hawken's Breed (1988), a Western; Sound (1988); Gli indifferenti (1989) with Liv Ullmann; and The Rose Garden (1989).

In the early 1990s Fonda also contributed to the script of Enemy (1990), in which he starred. He had the lead in Family Express (1991) and South Beach (1993), but then drifted into supporting roles in many independent films: Deadfall (1993), directed by Christopher Coppola; Bodies, Rest & Motion (1993), starring his daughter Bridget; Molly & Gina (1994) with Frances Fisher and Natasha Gregson; Love and a .45 (1994) with Renée Zellweger; Nadja (1994), produced by David Lynch. He had a good supporting role in Escape from L.A. (1996) from John Carpenter and was in Don't Look Back (1996). He also guest starred on In the Heat of the Night.

After years of films of varying success, Fonda received high-profile critical recognition and universal praise for his performance in Ulee's Gold (1997). He portrayed a taciturn North Florida beekeeper and Vietnam veteran who tries to save his son and granddaughter from a life of drug abuse. For his performance, he was nominated for the Academy Award for Best Actor. He had the lead in Painted Hero (1997). In 1998, Fonda starred in the TV movie The Tempest, based in part on William Shakespeare's play of the same name. It was directed by Jack Bender and starred Fonda, John Glover, Harold Perrineau, and Katherine Heigl.

He played Frank O'Connor in The Passion of Ayn Rand (1998), a performance for which he received a Golden Globe Award in 2000, then appeared in the crime film The Limey (1999) as Terry Valentine, an aging rock music producer who accidentally kills his younger girlfriend. The film was directed by Steven Soderbergh.

Fonda wrote an autobiography, Don't Tell Dad (1998).

In the 1990s, Fonda appeared in an advertisement for American Express.

2000s
Fonda's work in the 2000s included parts in South of Heaven, West of Hell (2000), Second Skin (2000), Thomas and the Magic Railroad (2000) Wooly Boys (2001), The Laramie Project (2001), The Maldonado Miracle (2003), Capital City (2004), The Heart Is Deceitful Above All Things (2004), A Thief of Time (2004), Back When We Were Grownups (2004), Supernova (2005), and El cobrador: In God We Trust (2006). In 2002, Fonda was inducted into the AMA Motorcycle Hall of Fame.

In 2004, he provided the voice of aging hippie weed grower "The Truth" in Grand Theft Auto: San Andreas, which was one of the best-selling video games of all time.

In a 2007 interview, Fonda said that riding motorcycles helped him to focus, stating,

"I ride an MV Agusta. This is an Italian racing motorcycle. It forces focus. You have to be focused and in my life, in this business, focus is hard to find sometimes. So I need to force focus and that's great. The bike takes you on a free road. There's no fences on the roads I ride and I don't ride freeways. That's as much as I can tell you, because there are more lands waiting for this little Christian boy. That's not true. I'm an atheist, but what the heck."

Fonda made a return to the big screen as the bounty hunter Byron McElroy in 3:10 to Yuma (2007), a remake of the 1957 Western. He appeared with Christian Bale and Russell Crowe. The film received two Academy Award nominations and positive reviews from critics. He also appeared in the last scenes of the biker comedy Wild Hogs as Damien Blade, founder of the biker gang Del Fuegos and father of Jack, played by Ray Liotta. Fonda also portrayed Mephistopheles, one of two main villains in the film Ghost Rider (also 2007). Although he wanted to play the character in the sequel, he was replaced by Ciarán Hinds.

He appeared in Journey to the Center of the Earth (2008), Japan (2008), and The Perfect Age of Rock 'n' Roll (2009) and as "The Roman", the main villain in The Boondock Saints II: All Saints Day (also 2009), the sequel to The Boondock Saints. Fonda also appeared on the television series Californication.

Later career
Fonda's later appearances include American Bandits: Frank and Jesse James (2010) for Fred Olen Ray; The Trouble with Bliss (2011); episodes of CSI: NY; Smitty (2012); Harodim (2012); As Cool as I Am (2013); Copperhead (2013); The Ultimate Life (2013); The Harvest (2013); HR (2014); House of Bodies (2014); Jesse James: Lawman (2015); The Runner (2015) with Nicolas Cage; The Ballad of Lefty Brown (2017); The Most Hated Woman in America (2017); Borderland (2017); You Can't Say No (2018); and Boundaries (2018) with Christopher Plummer. He was an executive producer of the documentary The Big Fix (2012).

His final portrayal was in the Vietnam War movie The Last Full Measure, whose director Todd Robinson, has recounted that Peter Fonda was able to view that film in its entirety before his death, and got emotional upon viewing it.

Honors
In 2000, a Golden Palm Star on the Palm Springs, California, Walk of Stars was dedicated to him.

Personal life
Fonda was married three times, he married his first wife Susan Brewer in 1961; together they had two children, Bridget and Justin. They divorced in 1974 after 13 years of marriage. Fonda married his second wife Portia Rebecca Crockett, in 1975. The marriage lasted for 36 years until they divorced in 2011. Fonda married his third wife Margaret DeVogelaere, in 2011. The marriage lasted for eight years until Fonda's death in 2019.

Political views
In 2011, Fonda and Tim Robbins produced The Big Fix, a documentary that examined the role of BP in the Deepwater Horizon oil spill and its effects on the Gulf of Mexico. At a press conference at the Cannes Film Festival, Fonda stated that he had written to President Barack Obama about the spill and attacked him as a "fucking traitor" for allowing "foreign boots on our soil telling our military—in this case the Coast Guard—what they can and could not do, and telling us, the citizens of the United States, what we could or could not do.

In June 2018, Fonda went on Twitter to criticize President Donald Trump's administration's enforcement of U.S. immigration policy by Jeff Sessions, for separating children from their parents at the Mexican border, writing that "We should rip Barron Trump from the arms of First Lady Melania Trump and put him in a cage with pedophiles." He also suggested that Americans should seek out names of U.S. Immigration and Customs Enforcement agents in order to protest outside of their homes and the schools of their children. The Secret Service opened an investigation based on a report from the Trump family. Huckabee's daughter, White House Press Secretary, Sarah Huckabee Sanders, was also the object of Fonda's tweets, in which he suggested that "Maybe we should take her (Sanders') children away..."

In another later deleted tweet, Fonda targeted United States Department of Homeland Security Secretary Kirstjen Nielsen by calling her a "vulgar" name and calling for Nielsen to be "put in a cage and poked at by passersby ..."

Fonda stated that he deleted his tweet regarding Barron Trump, saying that he "immediately regretted it and sincerely apologize to the family for what I said and any hurt my words have caused." Backlash to Fonda's tweets resulted in a call for a boycott of his newest film, Boundaries, and other Sony projects. Sony Pictures released Boundaries as planned on June 22, 2018, but released a statement stating that Fonda's comments "are abhorrent, reckless and dangerous, and we condemn them completely."

Death
Fonda died from respiratory failure caused by lung cancer at his home in Los Angeles on August 16, 2019, at the age of 79.

Following Fonda's death, his older sister Jane Fonda made the following statement: "I am very sad. He was my sweet-hearted baby younger brother, the talker of the family. I have had beautiful alone time with him these last days. He went out laughing."

title: Peter Fonda


text:
Ulee's Gold

Ulee's Gold is a 1997 American drama film written and directed by Victor Nuñez and starring Peter Fonda in the title role. Co-stars include Patricia Richardson, Christine Dunford, Tom Wood, Jessica Biel, J. Kenneth Campbell and Vanessa Zima. It was released by Orion Pictures, with Jonathan Demme receiving presenter credits for his role in the film's financing.

The film was the "Centerpiece Premiere" at the 1997 Sundance Film Festival. Fonda won a Golden Globe Award for his performance and was also nominated for an Academy Award for Best Actor and a Screen Actors Guild Award.

The film's title refers most concretely to the honey Ulee produces as a beekeeper, particularly that made from the nectar of the tupelo tree.

Van Morrison sings "Tupelo Honey" (the title song of his 1971 album) over the end credits.

Plot
Ulee Jackson is a widowed beekeeper in Wewahitchka, Florida whose son Jimmy is in prison following a botched robbery. Jimmy's wife Helen has abandoned their two daughters and is living in Orlando. Ulee's stubborn independence prevents him from asking for help, and he has his hands full running his business and acting as surrogate parent to his granddaughters Casey and Penny. Casey is a rebellious teenager and Penny is a timid 10-year-old who seems confused by her parents' absence and the tension at home.

When Ulee visits Jimmy in prison, Jimmy tells him that Helen has turned up at the Orlando home of petty criminals Eddie Flowers and Ferris Dooley. They were Jimmy's accomplices in the bank robbery, but were never caught. Now they say Helen is sick, and Jimmy asks Ulee to bring her home.

Ulee goes to Orlando to pick up Helen, but it turns out what Eddie and Ferris really want is the bank money that Jimmy allegedly hid after the robbery. Ulee agrees to ask Jimmy about it, and then takes Helen home. Helen's "illness" is actually drug addiction, and while she is almost comatose on the way home, she becomes violent and belligerent as she wakes up near the house. Ulee's tenant and neighbor, a divorced nurse named Connie Hope, is brought into the home by a frightened Penny, and over the next few days she helps Helen through her drug withdrawal.

Meanwhile, Ulee learns that Jimmy hid the bank money in one of his beeyards. He tells Eddie and Ferris he'll bring the money to Orlando in a few days, but they decide they can't wait and take Helen, Casey, and Penny hostage in Ulee's home. Helen, Casey, and Penny are then tied up and left at the home as Eddie and Ferris force Ulee at gunpoint to take them to the beeyard, where he shows them the hiding place. As they are recovering the money, Ulee kicks the gun into the swamp. The angry men ride with Ulee back into town, then Eddie stabs him in the parking lot when they arrive. As Ulee stumbles bleeding, Eddie and Ferris drive off but are pulled over almost immediately by the sheriff, Bill Floyd.

In a newly hopeful Jackson household, Helen has stepped back into her role as a mother, and Jimmy expects to be paroled soon. Ulee is happy to return to his bees, but has mixed feelings about giving up some of his responsibilities. As he recovers from his knife wound he begins work on expanding his business to accommodate Jimmy's eventual return, and seems to finally be taking a romantic interest in Connie.

Cast

 * Peter Fonda as Ulee Jackson
 * Patricia Richardson as Connie Hope
 * Christine Dunford as Helen Jackson
 * Tom Wood as Jimmy Jackson
 * Jessica Biel as Casey Jackson
 * Vanessa Zima as Penny Jackson
 * Steven Flynn as Eddie Flowers
 * Dewey Weber as Ferris Dooley
 * J. Kenneth Campbell as Sheriff Bill Floyd
 * Traber Burns as Chance Barrow
 * Ryan Marshall as Charley Myers

Production
Nuñez used the Lanier family, a third-generation beekeeping family in Wewahitchka, Florida as "bee consultants" for the film; the Lanier family swamp lands and bee yards served as filming locations, with some members of the family appearing as extras in the film. Other filming locations were Orlando, Carrabelle, Apalachicola and Port St. Joe in Florida. Ulee's Gold was filmed during the late summer/early autumn of 1996.

During a 1997 interview held in Melbourne, Fonda commented on the character he portrayed: "Ulee is the best character I've ever read. It's the kind of role you pay money to do — a complex character full of possibilities and the script was full of moments that were very deep, very pure and very simple. I also found a lot of Ulee in my father. He kept a couple of hives and I can see him hop-footing it across the lawn, thinking he had a bee up his pant leg. As I began to develop Ulee, I used a lot of the way my father was to us as kids, the way he was to us as a family and the way he was to himself." The film would help revive Fonda's career.

Reception
Ulee's Gold was well received by critics. On the review aggregator website Rotten Tomatoes, it has an approval rating of 94% based on reviews from 51 critics, with an average rating of 8.1/10. The website's consensus reads, "Led by an outstanding Peter Fonda performance, Ulee's Gold movingly depicts a family in crisis -- and a patriarch willing to sacrifice for the good of others." On Metacritic, it has a score of 77 out of 100 based on reviews from 23 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film a grade "B+" on scale of A to F.

Andrew Johnston wrote in Time Out New York: "The plot poses ample opportunities for cliches, all of which Nunez deftly avoids. The characters are wonderfully drawn and bring out the best in the actors —the taciturn Fonda often seems to be channeling his father, and Richardson proves she's too talented to be wasting her time on Home Improvement". Variety's Todd McCarthy described the film as a "gem of rare emotional depth and integrity". Roger Ebert of the Chicago Sun-Times gave it 3.5 out of 4, and wrote: "Peter Fonda here reveals a depth of talent we did not suspect."

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

title: Ulee's Gold


text:
Menachem Mendel Schneersohn

Menachem Mendel Schneersohn (מנחם מענדל שניאורסאהן; September 20, 1789 – March 17, 1866) also known as the Tzemach Tzedek (Hebrew: "Righteous Sprout" or "Righteous Scion") was an Orthodox rabbi, leading 19th-century posek, and the third rebbe (spiritual leader) of the Chabad Lubavitch Hasidic movement.

Biography
Menachem Mendel Schneersohn was born in Liozna, on September 20, 1789 (September 9 OS). His mother Devorah Leah died three years later, and her father Rabbi Shneur Zalman of Liadi raised him as his own son. He married his first cousin Chaya Mushka Schneersohn, daughter of Rabbi Dovber Schneuri. After his father-in-law/uncle's death, and a three-year interregnum during which he tried to persuade the Hasidim to accept his brother-in-law Menachem-Nachum Schneuri or his uncle Chaim-Avraham as their leader, he assumed the leadership of Lubavitch on the eve of Shavuot 5591 (May 5, 1831, OS).

He was known as the Tzemach Tzedek after the title of a voluminous compendium of Halakha (Jewish law) that he authored. He also authored Derech Mitzvotecha ("Way of Your Commandments"), a mystical exposition of the Mitzvos. He compiled major works of Rabbi Shneur Zalman of Liadi for publication, including the Siddur L'Kol Ha'Shanah (commonly known as Siddur Im Dach), Likutei Torah and Torah Ohr. He also authored a philosophical text entitled "Sefer Chakira: Derech Emuna" (Book of Philosophy: The Way of Faith).

He enjoyed close ties with other Jewish leaders. In the course of his battle against the Haskalah in Russia, he forged a close alliance with Rabbi Yitzchak of Valozhyn, a major leader of the misnagdim, which led to warmer relations between them and the Hasidim.

According to Baruch Epstein, his father Rabbi Yechiel Michel Epstein spent six months under the Schneersohn's tutelage, and learned most of his mystical knowledge during that time. This story is disputed by Hassidic historian Yehoshua Mondshine. Historian Eitam Henkin suggests that Rabbi Y. M. Epstein did meet with him, but only a few visits over a week or two, noting the testimony of Rabbi Yehuda Leib Maimon that he heard about this directly from his teacher.

His close friendship with Professor J Berstenson, the Czar's court physician, often helped the delicate negotiations relating to the welfare of the community. He set up an organisation called Hevras Techiyas Hameisim to assist Jewish boy-soldiers who were being recruited and converted to Christianity by the Russian army. These soldiers known as Cantonists were taken away from the Jewish community to other villages. Schneersohn arranged for his students to pay them regular visits to keep up their spirits and discourage them from converting.

In 1844–45 he took steps to increase the enrollment and viability of the Lubavitch yeshivas in Dubroŭna, Pasana, Lyozno, and Kalisz, expanding their enrollment to around 600 students in total. Repeated attempts by the authorities to entrap him using informers such as Hershel Hodesh, Benjamin the Apostate and Lipman Feldman failed.

Death and legacy
He died in Lubavitch on March 17, 1866, at the age of 76, leaving seven sons and two daughters. He was succeeded by his youngest son, Shmuel as the Rebbe of Lubavitch, while three of his other sons formed breakaways of the Chabad movement which continue to some extent even today.

Several of his sons established Chasidic dynasties. (See .)

Sons
He had seven sons:

1. Rabbi Baruch Shalom (1805–1869) did not become a rebbe in his own right; he chose to remain in Lubavitch and become a chasid of his youngest brother. Rabbi Menachem Mendel Schneerson, the seventh Rebbe of Chabad-Lubavitch, was his great-great-grandson.

2. Rabbi Yehuda Leib Schneersohn (Maharil) (1808–1866) settled in Kopys a few months after the death of his father, where he founded the Kopust branch of Chabad. He died two months later. He had three sons:
 * Rabbi Shlomo Zalman Schneersohn (1830–1900), oldest son of Rabbi Yehuda Leib, assumed his father's position in Kopust. He is the author of a work on Hasidism titled "Magen Avot" ("Shield of the Fathers").
 * Rabbi Shalom Dovber Schneersohn of Rechitsa (d. 1908), known as the Rashab of Rechitsa. Succeeding his brother, Rabbi Shlomo Zalman, Rabbi Shalom Dovber served as the Kopuster movement's rebbe in the town of Rechitsa. Rabbi Shalom Dovber seems to have died without a successor.
 * Rabbi Shmaryahu Noah Schneersohn (1842–1924), known as Shmaryahu Noah of Babruysk. Succeeding his brother, Rabbi Shlomo Zalman, Rabbi Shmaryahu Noah served as the Kopuster movement's rebbe in the town of Babruysk. He was rav of the chasidim in Babruysk from 1872, and founded a yeshiva there in 1901. He authored a two volume work on Hasidism, titled "Shemen LaMaor" ("Light for the Luminary").

3. Rabbi Chaim Schneur Zalman (1814–1880) was Rebbe in Lyady after his father died. He founded the Liadi branch of Chabad. He was succeeded by his son, Rabbi Yitzchak Dovber (1835–1910) of Liadi, author of Siddur Maharid, and his son-in-law, Rabbi Levi Yitzchak (d. 1905) of Siratin, a scion of the Rebbe of Radzimin.

4. Rabbi Yisroel Noach (1815–1883) of Nizhyn founded the Niezhin branch of Chabad. Although officially a Rebbe, he had only a small following. He had no successor. His son was Rabbi Avraham Schneerson of Kischinev, whose daughter, Nechama Dina Schneersohn, married Rabbi Yosef Yitzchak Schneersohn, the sixth Rebbe of Chabad-Lubavitch.

5. Rabbi Yosef Yitzchak (1822–1876) was a Rebbe in Ovruch. He founded the Avrutch branch of Chabad. He was compelled to assume this position by his father-in-law, Rabbi Yaakov Yisroel of Cherkas (son of Rabbi Mordechai of Chernobyl and son-in-law of the Mitteler Rebbe) against his father's wishes. His daughter, Shterna Sarah, married the Rebbe Rashab. Thus, he was the maternal grandfather and namesake of Rabbi Yosef Yitzchak Schneersohn, the sixth Rebbe of Chabad-Lubavitch.

6. Rabbi Yaakov, although leaving descendants, died at quite a young age. He lived in Orsha. Little is known about him.

7. Rabbi Shmuel Schneersohn (Maharash) (1834–1882) of Lubavitch, his youngest son, succeeded him as the Rebbe of Lubavitch.

Notable students

 * Rabbi Hillel Paritcher
 * Rabbi Shneur Zalman Fradkin of Lublin

Works

 * Ohr HaTorah - Chassidic discourses
 * Sefer HaLikkutim - A Chassidic encyclopedia
 * Derech Mitzvosecha - An explanation of the mystical reasons for the Mitzvos
 * "Tzemach Tzedeck Chiddushim al HaShas" commentary on the Talmud
 * Responsa Tzemach Tzedek - 8 vols.
 * "Igros kodesh" - a collection of about 100 surviving non-halachik responsa
 * Sefer Chakira: Derech Emunah - exposition of Jewish philosophy
 * "Kitzurim V'Haoros" - scholarly glosses on the Tanya

title: Menachem Mendel Schneersohn


text:
Collision detection

Collision detection is the computational problem of detecting an intersection of two or more spatial objects, commonly computer graphics objects. It has applications in various computing fields, primarily in computer graphics, computer games, computer simulations, robotics and computational physics. Collision detection is a classic problem of computational geometry. Collision detection algorithms can be divided into operating on 2D or 3D spatial objects.

Overview
In physical simulation, experiments such as playing billiards are conducted. The physics of bouncing billiard balls are understood under the umbrella of rigid body motion and elastic collisions. An initial description of the situation would be given, with a very precise physical description of the billiard table and balls, as well as initial positions of all the balls. Based on a force applied to the cue ball, the computer program would calculate the trajectories, precise motion and eventual resting places of all the balls. A program to simulate this game would consist of several portions, one of which would be responsible for calculating the precise impacts between the billiard balls. This particular example also turns out to be ill conditioned: as a small error in any calculation will cause drastic changes in the final position of the billiard balls.

Video games have similar requirements, with some crucial differences. While some computer simulations need to simulate real-world physics as precisely as possible, computer games need to simulate real-world physics in an acceptable way, in real time and robustly. Compromises are allowed, so long as the resulting simulation is satisfying to the game players.

Collision detection in computer simulation
Physical simulators differ in the way they react on a collision. Some use the softness of the material to calculate a force, which will resolve the collision in the following time steps like it is in reality. This is very CPU intensive for low softness materials. Some simulators estimate the time of collision by linear interpolation, roll back the simulation, and calculate the collision by the more abstract methods of conservation laws.

Some iterate the linear interpolation (Newton's method) to calculate the time of collision with a much higher precision than the rest of the simulation. Collision detection utilizes time coherence to allow even finer time steps without much increasing CPU demand, such as in air traffic control.

After an inelastic collision, special states of sliding and resting can occur and, for example, the Open Dynamics Engine uses constraints to simulate them. Constraints avoid inertia and thus instability. Implementation of rest by means of a scene graph avoids drift.

In other words, physical simulators usually function one of two ways: where the collision is detected a posteriori (after the collision occurs) or a priori (before the collision occurs). In addition to the a posteriori and a priori distinction, almost all modern collision detection algorithms are broken into a hierarchy of algorithms. Often the terms "discrete" and "continuous" are used rather than a posteriori and a priori.

A posteriori (discrete) versus a priori (continuous)
In the a posteriori case, the physical simulation is advanced by a small step, then checked to see if any objects are intersecting or visibly considered intersecting. At each simulation step, a list of all intersecting bodies is created, and the positions and trajectories of these objects are "fixed" to account for the collision. This method is called a posteriori because it typically misses the actual instant of collision, and only catches the collision after it has actually happened.

In the a priori methods, there is a collision detection algorithm which will be able to predict very precisely the trajectories of the physical bodies. The instants of collision are calculated with high precision, and the physical bodies never actually interpenetrate. This is called a priori because the collision detection algorithm calculates the instants of collision before it updates the configuration of the physical bodies.

The main benefits of the a posteriori methods are as follows. In this case, the collision detection algorithm need not be aware of the myriad of physical variables; a simple list of physical bodies is fed to the algorithm, and the program returns a list of intersecting bodies. The collision detection algorithm doesn't need to understand friction, elastic collisions, or worse, nonelastic collisions and deformable bodies. In addition, the a posteriori algorithms are in effect one dimension simpler than the a priori algorithms. An a priori algorithm must deal with the time variable, which is absent from the a posteriori problem.

On the other hand, a posteriori algorithms cause problems in the "fixing" step, where intersections (which aren't physically correct) need to be corrected. Moreover, if the discrete step is too large, the collision could go undetected, resulting in an object which passes through another if it is sufficiently fast or small.

The benefits of the a priori algorithms are increased fidelity and stability. It is difficult (but not completely impossible) to separate the physical simulation from the collision detection algorithm. However, in all but the simplest cases, the problem of determining ahead of time when two bodies will collide (given some initial data) has no closed form solution—a numerical root finder is usually involved.

Some objects are in resting contact, that is, in collision, but neither bouncing off, nor interpenetrating, such as a vase resting on a table. In all cases, resting contact requires special treatment: If two objects collide (a posteriori) or slide (a priori) and their relative motion is below a threshold, friction becomes stiction and both objects are arranged in the same branch of the scene graph.

Optimization
The obvious approaches to collision detection for multiple objects are very slow. Checking every object against every other object will, of course, work, but is too inefficient to be used when the number of objects is at all large. Checking objects with complex geometry against each other in the obvious way, by checking each face against each other face, is itself quite slow. Thus, considerable research has been applied to speed up the problem.

Exploiting temporal coherence
In many applications, the configuration of physical bodies from one time step to the next changes very little. Many of the objects may not move at all. Algorithms have been designed so that the calculations done in a preceding time step can be reused in the current time step, resulting in faster completion of the calculation.

At the coarse level of collision detection, the objective is to find pairs of objects which might potentially intersect. Those pairs will require further analysis. An early high performance algorithm for this was developed by Ming C. Lin at the University of California, Berkeley, who suggested using axis-aligned bounding boxes for all n bodies in the scene.

Each box is represented by the product of three intervals (i.e., a box would be $$I_1 \times I_2 \times I_3=[a_1,b_1] \times [a_2,b_2] \times [a_3,b_3]$$). A common algorithm for collision detection of bounding boxes is sweep and prune. Observe that two such boxes, $$I_1 \times I_2 \times I_3$$ and $$J_1 \times J_2 \times J_3$$ intersect if, and only if, $$I_1$$ intersects $$J_1$$, $$I_2$$ intersects $$J_2$$ and $$I_3$$ intersects $$J_3$$. It is supposed that, from one time step to the next, if $$I_k$$ and $$J_k$$ intersect, then it is very likely that at the next time step they will still intersect. Likewise, if they did not intersect in the previous time step, then they are very likely to continue not to.

So we reduce the problem to that of tracking, from frame to frame, which intervals do intersect. We have three lists of intervals (one for each axis) and all lists are the same length (since each list has length $$n$$, the number of bounding boxes.) In each list, each interval is allowed to intersect all other intervals in the list. So for each list, we will have an $$n \times n$$ matrix $$M=(m_{ij})$$ of zeroes and ones: $$m_{ij}$$ is 1 if intervals $$i$$ and $$j$$ intersect, and 0 if they do not intersect.

By our assumption, the matrix $$M$$ associated to a list of intervals will remain essentially unchanged from one time step to the next. To exploit this, the list of intervals is actually maintained as a list of labeled endpoints. Each element of the list has the coordinate of an endpoint of an interval, as well as a unique integer identifying that interval. Then, we sort the list by coordinates, and update the matrix $$M$$ as we go. It's not so hard to believe that this algorithm will work relatively quickly if indeed the configuration of bounding boxes does not change significantly from one time step to the next.

In the case of deformable bodies such as cloth simulation, it may not be possible to use a more specific pairwise pruning algorithm as discussed below, and an n-body pruning algorithm is the best that can be done.

If an upper bound can be placed on the velocity of the physical bodies in a scene, then pairs of objects can be pruned based on their initial distance and the size of the time step.

Pairwise pruning
Once we've selected a pair of physical bodies for further investigation, we need to check for collisions more carefully. However, in many applications, individual objects (if they are not too deformable) are described by a set of smaller primitives, mainly triangles. So now, we have two sets of triangles, $$S={S_1,S_2,\dots,S_n}$$ and $$T={T_1,T_2,\dots,T_n}$$ (for simplicity, we will assume that each set has the same number of triangles.)

The obvious thing to do is to check all triangles $$S_j$$ against all triangles $$T_k$$ for collisions, but this involves $$n^2$$ comparisons, which is highly inefficient. If possible, it is desirable to use a pruning algorithm to reduce the number of pairs of triangles we need to check.

The most widely used family of algorithms is known as the hierarchical bounding volumes method. As a preprocessing step, for each object (in our example, $$S$$ and $$T$$) we will calculate a hierarchy of bounding volumes. Then, at each time step, when we need to check for collisions between $$S$$ and $$T$$, the hierarchical bounding volumes are used to reduce the number of pairs of triangles under consideration. For simplicity, we will give an example using bounding spheres, although it has been noted that spheres are undesirable in many cases.

If $$E$$ is a set of triangles, we can pre-calculate a bounding sphere $$B(E)$$. There are many ways of choosing $$B(E)$$, we only assume that $$B(E)$$ is a sphere that completely contains $$E$$ and is as small as possible.

Ahead of time, we can compute $$B(S)$$ and $$B(T)$$. Clearly, if these two spheres do not intersect (and that is very easy to test), then neither do $$S$$ and $$T$$. This is not much better than an n-body pruning algorithm, however.

If $$E={E_1,E_2,\dots,E_m}$$ is a set of triangles, then we can split it into two halves $$L(E):={E_1,E_2,\dots,E_{m/2}}$$ and $$R(E):={E_{m/2+1},\dots,E_{m-1},E_m}$$. We can do this to $$S$$ and $$T$$, and we can calculate (ahead of time) the bounding spheres $$B(L(S)),B(R(S))$$ and $$B(L(T)),B(R(T))$$. The hope here is that these bounding spheres are much smaller than $$B(S)$$ and $$B(T)$$. And, if, for instance, $$B(S)$$ and $$B(L(T))$$ do not intersect, then there is no sense in checking any triangle in $$S$$ against any triangle in $$L(T)$$.

As a precomputation, we can take each physical body (represented by a set of triangles) and recursively decompose it into a binary tree, where each node $$N$$ represents a set of triangles, and its two children represent $$L(N)$$ and $$R(N)$$. At each node in the tree, we can pre-compute the bounding sphere $$B(N)$$.

When the time comes for testing a pair of objects for collision, their bounding sphere tree can be used to eliminate many pairs of triangles.

Many variants of the algorithms are obtained by choosing something other than a sphere for $$B(T)$$. If one chooses axis-aligned bounding boxes, one gets AABBTrees. Oriented bounding box trees are called OBBTrees. Some trees are easier to update if the underlying object changes. Some trees can accommodate higher order primitives such as splines instead of simple triangles.

Exact pairwise collision detection
Once we're done pruning, we are left with a number of candidate pairs to check for exact collision detection.

A basic observation is that for any two convex objects which are disjoint, one can find a plane in space so that one object lies completely on one side of that plane, and the other object lies on the opposite side of that plane. This allows the development of very fast collision detection algorithms for convex objects.

Early work in this area involved "separating plane" methods. Two triangles collide essentially only when they can not be separated by a plane going through three vertices. That is, if the triangles are $${v_1,v_2,v_3}$$ and $${v_4,v_5,v_6}$$ where each $$v_j$$ is a vector in $$\mathbb R^3$$, then we can take three vertices, $$v_i,v_j,v_k$$, find a plane going through all three vertices, and check to see if this is a separating plane. If any such plane is a separating plane, then the triangles are deemed to be disjoint. On the other hand, if none of these planes are separating planes, then the triangles are deemed to intersect. There are twenty such planes.

If the triangles are coplanar, this test is not entirely successful. One can add some extra planes, for instance, planes that are normal to triangle edges, to fix the problem entirely. In other cases, objects that meet at a flat face must necessarily also meet at an angle elsewhere, hence the overall collision detection will be able to find the collision.

Better methods have since been developed. Very fast algorithms are available for finding the closest points on the surface of two convex polyhedral objects. Early work by Ming C. Lin used a variation on the simplex algorithm from linear programming. The Gilbert-Johnson-Keerthi distance algorithm has superseded that approach. These algorithms approach constant time when applied repeatedly to pairs of stationary or slow-moving objects, when used with starting points from the previous collision check.

The end result of all this algorithmic work is that collision detection can be done efficiently for thousands of moving objects in real time on typical personal computers and game consoles.

A priori pruning
Where most of the objects involved are fixed, as is typical of video games, a priori methods using precomputation can be used to speed up execution.

Pruning is also desirable here, both n-body pruning and pairwise pruning, but the algorithms must take time and the types of motions used in the underlying physical system into consideration.

When it comes to the exact pairwise collision detection, this is highly trajectory dependent, and one almost has to use a numerical root-finding algorithm to compute the instant of impact.

As an example, consider two triangles moving in time $${v_1(t),v_2(t),v_3(t)}$$ and $${v_4(t),v_5(t),v_6(t)}$$. At any point in time, the two triangles can be checked for intersection using the twenty planes previously mentioned. However, we can do better, since these twenty planes can all be tracked in time. If $$P(u,v,w)$$ is the plane going through points $$u,v,w$$ in $$\mathbb R^3$$ then there are twenty planes $$P(v_i(t),v_j(t),v_k(t))$$ to track. Each plane needs to be tracked against three vertices, this gives sixty values to track. Using a root finder on these sixty functions produces the exact collision times for the two given triangles and the two given trajectory. We note here that if the trajectories of the vertices are assumed to be linear polynomials in $$t$$ then the final sixty functions are in fact cubic polynomials, and in this exceptional case, it is possible to locate the exact collision time using the formula for the roots of the cubic. Some numerical analysts suggest that using the formula for the roots of the cubic is not as numerically stable as using a root finder for polynomials.

Spatial partitioning
Alternative algorithms are grouped under the spatial partitioning umbrella, which includes octrees, binary space partitioning (or BSP trees) and other, similar approaches. If one splits space into a number of simple cells, and if two objects can be shown not to be in the same cell, then they need not be checked for intersection. Since BSP trees can be precomputed, that approach is well suited to handling walls and fixed obstacles in games. These algorithms are generally older than the algorithms described above.

Bounding boxes
Bounding boxes (or bounding volumes) are most often a 2D rectangle or 3D cuboid, but other shapes are possible. A bounding box in a video game is sometimes called a Hitbox. The bounding diamond, the minimum bounding parallelogram, the convex hull, the bounding circle or bounding ball, and the bounding ellipse have all been tried, but bounding boxes remain the most popular due to their simplicity. Bounding boxes are typically used in the early (pruning) stage of collision detection, so that only objects with overlapping bounding boxes need be compared in detail.

Triangle centroid segments
A triangle mesh object is commonly used in 3D body modeling. Normally the collision function is a triangle to triangle intercept or a bounding shape associated with the mesh. A triangle centroid is a center of mass location such that it would balance on a pencil tip. The simulation need only add a centroid dimension to the physics parameters. Given centroid points in both object and target it is possible to define the line segment connecting these two points.

The position vector of the centroid of a triangle is the average of the position vectors of its vertices. So if its vertices have Cartesian coordinates $$(x_1,y_1,z_1)$$, $$(x_2,y_2,z_2)$$ and $$(x_3,y_3,z_3)$$ then the centroid is $$\left(\frac{(x_1+x_2+x_3)}{3},\frac{(y_1+y_2+y_3)}{3},\frac{(z_1+z_2+z_3)}{3}\right)$$.

Here is the function for a line segment distance between two 3D points. $$\mathrm{distance} = \sqrt{(z_2 - z_1)^2 + (x_2 - x_1)^2 + (y_2 - y_1)^2}$$

Here the length/distance of the segment is an adjustable "hit" criteria size of segment. As the objects approach the length decreases to the threshold value. A triangle sphere becomes the effective geometry test. A sphere centered at the centroid can be sized to encompass all the triangle's vertices.

Video games
Video games have to split their very limited computing time between several tasks. Despite this resource limit, and the use of relatively primitive collision detection algorithms, programmers have been able to create believable, if inexact, systems for use in games.

For a long time, video games had a very limited number of objects to treat, and so checking all pairs was not a problem. In two-dimensional games, in some cases, the hardware was able to efficiently detect and report overlapping pixels between sprites on the screen. In other cases, simply tiling the screen and binding each sprite into the tiles it overlaps provides sufficient pruning, and for pairwise checks, bounding rectangles or circles called hitboxes are used and deemed sufficiently accurate.

Three-dimensional games have used spatial partitioning methods for $$n$$-body pruning, and for a long time used one or a few spheres per actual 3D object for pairwise checks. Exact checks are very rare, except in games attempting to simulate reality closely. Even then, exact checks are not necessarily used in all cases.

Because games do not need to mimic actual physics, stability is not as much of an issue. Almost all games use a posteriori collision detection, and collisions are often resolved using very simple rules. For instance, if a character becomes embedded in a wall, they might be simply moved back to their last known good location. Some games will calculate the distance the character can move before getting embedded into a wall, and only allow them to move that far.

In many cases for video games, approximating the characters by a point is sufficient for the purpose of collision detection with the environment. In this case, binary space partitioning trees provide a viable, efficient and simple algorithm for checking if a point is embedded in the scenery or not. Such a data structure can also be used to handle "resting position" situation gracefully when a character is running along the ground. Collisions between characters, and collisions with projectiles and hazards, are treated separately.

A robust simulator is one that will react to any input in a reasonable way. For instance, if we imagine a high speed racecar video game, from one simulation step to the next, it is conceivable that the cars would advance a substantial distance along the race track. If there is a shallow obstacle on the track (such as a brick wall), it is not entirely unlikely that the car will completely leap over it, and this is very undesirable. In other instances, the "fixing" that posteriori algorithms require isn't implemented correctly, resulting in bugs that can trap characters in walls or allow them to pass through them and fall into an endless void where there may or may not be a deadly bottomless pit, sometimes referred to as "black hell", "blue hell", or "green hell", depending on the predominant color. These are the hallmarks of a failing collision detection and physical simulation system. Big Rigs: Over the Road Racing is an infamous example of a game with a failing or possibly missing collision detection system.

Hitbox
A hitbox is an invisible shape commonly used in video games for real-time collision detection; it is a type of bounding box. It is often a rectangle (in 2D games) or cuboid (in 3D) that is attached to and follows a point on a visible object (such as a model or a sprite). Circular or spheroidial shapes are also common, though they are still most often called "boxes". It is common for animated objects to have hitboxes attached to each moving part to ensure accuracy during motion.

Hitboxes are used to detect "one-way" collisions such as a character being hit by a punch or a bullet. They are unsuitable for the detection of collisions with feedback (e.g. bumping into a wall) due to the difficulty experienced by both humans and AI in managing a hitbox's ever-changing locations; these sorts of collisions are typically handled with much simpler axis-aligned bounding boxes instead. Players may use the term "hitbox" to refer to these types of interactions regardless.

A hurtbox is a hitbox used to detect incoming sources of damage. In this context, the term hitbox is typically reserved for those which deal damage. For example, an attack may only land if the hitbox around an attacker's punch connects with one of the opponent's hurtboxes on their body, while opposing hitboxes colliding may result in the players trading or cancelling blows, and opposing hurtboxes do not interact with each other. The term is not standardized across the industry; some games reverse their definitions of hitbox and hurtbox, while others only use "hitbox" for both sides.

title: Collision detection