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Talk:United Airlines Flight 93

Toxin-related deaths
I think it would be important to note in the Aftermath section that numerous individuals, particularly federal investigators, that participated in the response and subsequent investigation into Flight 93 have died from 9/11-related illnesses, particularly due to inhalation of carcinogens at the crash site.

These individuals are as follows:

- Special Agent Laurie Fournier, Federal Bureau of Investigation (December 26, 2009)

- Special Agent William Daniel Craig, Federal Bureau of Investigation (April 9, 2012)

 * Much better and specific attribution concerning O’Connor and Walker will be needed.  Acroterion   (talk)   04:14, 26 July 2023 (UTC)

 * Added additional individual. Removing individuals lacking credible sources. Brandondsantos (talk) 19:45, 1 January 2024 (UTC)

Edit request: A small typo (I think) on 25 September 2023
I believe the following sentence in the Hijacking > Cockpit transmissions and recordings section makes more sense with the word "time" removed: "Officials believe that at around 09:28, the hijackers killed Mark Rothenberg,[47] assaulted the cockpit, and moved the remaining passengers and crew to the rear of the plane  time  to minimize any chance that either the crew or the passengers would interfere with the attack". Mcneda (talk) 19:41, 25 September 2023 (UTC)

slight error
Picture box in "Hijackers" section is missing a photo of Ahmed al-Haznawi. So it describes 4 people in the caption, but only has photos for 3 of them. Violarulez (talk) 18:06, 9 November 2023 (UTC)

Currently fails criterion 1.b.
At Articles for deletion/I Missed Flight 93 I noted that there is no summary style paragraph of the various movie or TV dramatizations originating from this event. I would consider a comprehensive article to need at least some mention, in the body rather than hatnotes and "see also"s, of these derivative media. But I don't work in FA land much... am I wrong? Jclemens (talk) 06:36, 2 March 2024 (UTC)

 * A paragraph near the end of the head of the Aftermath section had one sentence listing three of the films and documentaries about Flight 93. I've gone ahead and added a second sentence about I Missed Flight 93 just after it to resolve the merge. This should definitely be considered for further expansion into its own section or sub-section, though. SlyAceZeta (talk) 04:57, 10 June 2024 (UTC)

Attempted Eminent Domain
A mention about the donation made of the land. Tim Lambert donated land to the families and sold land to the Park Service. . Where should it be placed? Earlier it was a note.

207.96.32.81 (talk) 20:35, 1 July 2024 (UTC)

 * If it belongs anywhere, it would be in the article on the Flight 93 National Memorial, where there is a section concerning land acquisition. It has nothing to do with the terrorist incident.  Acroterion   (talk)   20:45, 1 July 2024 (UTC)

title: Talk:United Airlines Flight 93


text:
Tiny Toon Adventures

Tiny Toon Adventures is an American animated television series created by Tom Ruegger that was broadcast from September 14, 1990, to December 6, 1992. It was the first animated series produced by Steven Spielberg's Amblin Television (credited as Amblin Entertainment) in association with Warner Bros. Animation. The show follows the adventures of a group of young cartoon characters who attend Acme Looniversity to become the next generation of characters from the Looney Tunes series.

The pilot episode, "The Looney Beginning", aired as a prime-time special on CBS on September 14, 1990, while the series itself was featured in first-run syndication for the first two seasons. The final season aired on Fox under the Fox Kids programming block. The series ended production in 1992 in favor of Animaniacs, which premiered a year later; however, two specials were produced in 1994.

Tiny Toon Adventures won seven Daytime Emmy Awards, a Young Artist Award, and an Environmental Media Award, with nominations for one other Daytime Emmy Award, two Annie Awards, one Primetime Emmy Award, and one other Young Artist Award. Spin-off media include magazines, toys, video games, and home media releases. The Plucky Duck Show, a spin-off television series, was created for Fox Kids and ran for one season. A second spin-off series, Pinky, Elmyra & the Brain ran on Kids' WB for one season. A reboot/revival series, Tiny Toons Looniversity, was released on September 8, 2023 Max and then premiered the next day, on September 9, on Cartoon Network.

Setting
Tiny Toon Adventures is a cartoon set in the fictional town of "Acme Acres", where most of the Tiny Toons and Looney Tunes characters live. The characters attend "Acme Looniversity", a school whose faculty primarily consists of the mainstays of the classic Warner Bros. cartoons, such as Bugs Bunny, Daffy Duck, Porky Pig, Sylvester the Cat, Wile E. Coyote and Elmer Fudd. In the series, the university is founded to teach cartoon characters how to become funny. The school is not featured in every episode, as not all of its storylines revolve around the school.

Like Looney Tunes, the series makes use of cartoon violence (e.g. anvils falling on someone, liberal use of explosives) and slapstick. The series parodies and references the current events of the early 1990s and Hollywood culture. Occasionally, episodes delve into veiled ethical and morality stories of ecology, self-esteem, and crime.

Characters

The series centers on a group of young cartoon characters who attend a school called Acme Looniversity to be the next generation of Looney Tunes characters. Most of the Tiny Toons were designed to resemble younger versions of Warner's Looney Tunes characters by exhibiting similar traits and looks. The main characters are Buster and Babs Bunny, two young rabbits with "no relation", their friends, Plucky Duck and Hamton J. Pig, and antagonists Elmyra Duff and Montana Max. They are accompanied by a wide variety of supporting and recurring characters, such as Dizzy Devil, Furrball, Gogo Dodo, Calamity Coyote, Little Beeper, Sweetie Bird, Fifi La Fume, Shirley the Loon, Li'l Sneezer, Byron Basset, Concord Condor, Fowlmouth, Arnold the Pit Bull, Mary Melody, and Bookworm, among others.

Feeding off the characters are the more traditional Looney Tunes including (but not limited to) Bugs Bunny, Daffy Duck, and Porky Pig. Most of the adults teach classes at Acme Looniversity and serve as mentors to the Tiny Toons while others fill secondary positions as needed.

Development
According to writer Paul Dini, Tiny Toons originated as an idea by Terry Semel, the then-president of Warner Bros., who wanted to "inject new life into the Warner Bros. Animation department", and at the same time create a series with junior versions of Looney Tunes characters. Semel proposed that the new series would be a show based on Looney Tunes where the characters were either young versions of the original Looney Tunes and Merrie Melodies characters or new characters as the offspring of the original characters. The idea of a series with the basis of younger and junior versions of cartoon characters was common at the time; the era in which Tiny Toons was produced for had such cartoons as Muppet Babies, A Pup Named Scooby-Doo (which Ruegger worked on), Tom & Jerry Kids and The Flintstone Kids.

On January 20, 1987, the Warner Bros. Animation studio approached Steven Spielberg to collaborate with Semel and Warner Bros. head of licensing Dan Romanelli on Semel's ideas. They eventually decided that the new characters would be similar to the Looney Tunes characters with no direct relation. As series producer/show-runner Tom Ruegger explained: "Well, I think in Warner Bros. case, they had the opportunity to work with Steven Spielberg] on a project [...] But he didn't want to just work on characters that Chuck Jones, Friz Freleng, Bob McKimson and Bob Clampett made famous and created. He wanted to be involved with the creation of some new characters." The result was a series similar to Looney Tunes without the use of the same characters. However, Tiny Toons did not go into production then, nor was it even planned to be made for television; the series initially was to be a theatrical feature-length film.

On December 27, 1988, Tiny Toons was changed from a film to a television series, with Jean MacCurdy overseeing production of the first 65 episodes. MacCurdy said that Tiny Toons was changed to a television series to "reach a broader audience". For the series, MacCurdy hired Tom Ruegger, who previously wrote for Filmation and Hanna-Barbera, to produce. In January 1989, Ruegger and writer Wayne Kaatz began developing the characters and the setting of "Acme Acres" with Spielberg.

On January 9, 1989, Warner Bros. Animation chose its voice actors from over 1,200 auditions and put together its 100-person production staff. On April 13, 1989, full production of series episodes began with five overseas animation houses and a total budget of $25 million. The first 65 episodes of the series aired in syndication on 135 stations, beginning in September 1990. During that time, Tiny Toons was a huge success and got higher ratings than its Disney Afternoon competitors in some markets. After a successful run in syndication, Fox attained the rights for season 3. Production of the series halted in late 1992 to make way for Animaniacs to air the following year.

Writers
The series and characters were developed by series producer, head writer and cartoonist Tom Ruegger, division leader Jean MacCurdy, associate producer and artist Alfred Gimeno and story editor/writer Wayne Kaatz. Among the series' first writers were Jim Reardon, Tom Minton and Eddie Fitzgerald. Other writers included Arleen Sorkin. The character and scenery designers included Alfred Gimeno, Ken Boyer, Dan Haskett, Karen Haskett and many other artists and directors.

"Buster and Babs Go Hawaiian" was co-written by three then-teenage fans.

Casting info
Voice director Andrea Romano auditioned over 1,200 voices and chose more than a dozen main voice actors. The role of Buster Bunny was given to Charlie Adler, who gave the role, as producer Ruegger said, "a great deal of energy". The role of Babs Bunny was given to Tress MacNeille. Dini said that MacNeille was good for the role because she could do both Babs' voice and the voices of her impressions. Voice actors Joe Alaskey and Don Messick were given the roles of Plucky Duck and Hamton J. Pig, respectively. Child actor Danny Cooksey played Montana Max and, according to Dini, was good for the role because he could do a "tremendous mean voice." Cree Summer provides the roles of Elmyra Duff and Mary Melody; former Saturday Night Live cast member Gail Matthius voices Shirley the Loon, and Kath Soucie provides Fifi La Fume and Li'l Sneezer. Other voice actors include Maurice LaMarche as Dizzy Devil; Candi Milo as Sweetie, Frank Welker as Gogo Dodo, Furrball, Byron Basset, Calamity Coyote, Little Beeper, Barky Marky and other voices; and Rob Paulsen as Fowlmouth, Arnold the Pit Bull, Concord Condor and other characters. Legendary original Looney Tunes voice actor, Mel Blanc, was initially set to reprise his roles as the classic characters, but due to his death in July 1989, his characters were recast to Alaskey, Jeff Bergman, Greg Burson, and Bob Bergen.

During production of the third season, Adler left the show due to a feud with the producers. Adler was angry that he had not been offered a role in Animaniacs while his fellow Tiny Toons voice actors with smaller roles, such as Paulsen, LaMarche and Welker, were given starring roles in the new series. John Kassir replaced Adler for the remainder of the show's run (although Adler would eventually return to voice Buster in the cancelled video game, Tiny Toon Adventures: Defenders of the Universe). Alaskey, voice of Plucky Duck, briefly left for financial reasons, but returned when an agreement was reached with the studio.

Animation
In order to complete 65 episodes for the first season, Warner Bros. Animation and Amblin Television contracted several North American and international animation houses, including Tokyo Movie Shinsha, Wang Film Productions, AKOM, Freelance Animators New Zealand, Encore Cartoons, StarToons and Kennedy Cartoons. Tokyo Movie Shinsha also animated the series' opening sequence. Some of the Warner Bros. staff disliked working with Kennedy Cartoons due to the animation studio's inconsistent quality, and episodes that they animated were often subjected to multiple re-takes; in other cases, portions of Kennedy-animated episodes were reanimated by other studios. Kennedy Cartoons was dropped after the end of the series' first season.

Tiny Toon Adventures was made with a higher production value than standard television animation. It had a cel count that was more than double that of most animated television shows then. The series had about 25,000 cels per episode instead of the standard 10,000, making it unique in that characters moved more fluidly. Animation producer Pierre DeCelles described storyboarding for the series as "fun but a big challenge because I always had a short schedule, and it's not always easy to work full blast nonstop".

Music
During development, Spielberg said that Warner Bros. would use a full orchestra, which some thought too expensive and impossible, but they ended up agreeing. Warner Bros. selected Bruce Broughton to write the theme tune (for which he would win a Daytime Emmy alongside Ruegger and Kaatz) and serve as music supervisor. Screen credits for the composers were given based on the amount of music composed for, or composed and reused in, the episode.

Twenty-six other composers were contracted to create original dramatic underscore for each episode: Julie and Steve Bernstein, Steven Bramson, Don Davis, John Debney, Ron Grant, Les Hooper, Carl Johnson, Elliot Kaplan, Arthur Kempel, Ralph Kessler, Albert Lloyd Olson, Hummie Mann, Dennis McCarthy, Joel McNeely, Peter Myers, Laurence Rosenthal, William Ross, Arthur B. Rubinstein, J. Eric Schmidt, David Slonaker, Fred Steiner, Morton Stevens, Richard Stone, Stephen James Taylor and Mark Watters. The composers conducted their own music. Of these composers, Broughton, Bramson, Davis, Olson, Stone, Taylor and Watters wrote the score to How I Spent My Vacation.

These composers would later write the musical scores for shows including Animaniacs and The Sylvester & Tweety Mysteries.

Films and television specials
A feature-length film was released direct-to-video in 1992, entitled Tiny Toon Adventures: How I Spent My Vacation. This was later re-edited and aired as part of the series. The length of the movie is 79 minutes. Fox aired It's a Wonderful Tiny Toons Christmas Special in prime time on December 6, 1992. This episode is a parody of It's a Wonderful Life. Although the Christmas episode is called a special, it is only called this as it is Christmas-themed and is just a regular episode. The Tiny Toon Spring Break Special was aired on Fox during prime time on March 27, 1994. Fox aired Tiny Toons' Night Ghoulery in prime time on May 28, 1995.

Reception
The show was received with positive reviews; the Philadelphia Daily News remarked "It's the most cinematic first-run animated show on TV, mixing long shots, extra-tight closeups and odd perspectives for comic effect..." Citizens' Voice noted "Combining the animation of Warner Bros. and the creative direction of Spielberg, the collection of 65 half-hour cartoons is sure to make a big impression during the weekday late afternoon viewing period..." However, The Journal News criticized about the series "Adults looking for the smart-aleck attitude and wit of the old Warner Bros. classics will be disappointed, however; these are aimed squarely at kids and reflect a '90s sensibility, sneaking pro-social messages into madcap adventure stories."

Awards and nominations

 * rowspan="3" | 1991
 * rowspan="8" | Daytime Emmy Awards
 * Outstanding Animated Program
 * Steven Spielberg, Tom Ruegger, Ken Boyer, Art Leonardi, Art Vitello, Paul Dini, and Sherri Stoner
 * Won
 * Outstanding Music Direction and Composition
 * William Ross for "Fields of Honey"
 * Won
 * Outstanding Original Song
 * Bruce Broughton, Wayne Kaatz, and Tom Ruegger for the main title theme
 * Won
 * rowspan="3" | 1992
 * Outstanding Animated Program
 * Steven Spielberg, Tom Ruegger, Sherri Stoner, Rich Arons, and Art Leonardi
 * Nominated
 * Outstanding Music Direction and Composition
 * Mark Watters for "The Love Disconnection"
 * Won
 * Outstanding Writing in an Animated Program
 * Nicholas Hollander, Tom Ruegger, Paul Dini, and Sherri Stoner
 * Won
 * rowspan="2" | 1993
 * Outstanding Animated Program
 * Steven Spielberg, Tom Ruegger, Sherri Stoner, Rich Arons, Byron Vaughns, Ken Boyer, Alfred Gimeno, and David West
 * Won
 * Outstanding Music Direction and Composition
 * Steven Bramson for “The Horror of Slumber Party Mountain”
 * Won
 * 1992
 * rowspan="2" | Annie Awards
 * rowspan="2" | Animated Television Program
 * Nominated
 * 1993
 * Nominated
 * 1991
 * Primetime Emmy Awards
 * Outstanding Animated Program
 * Steven Spielberg, Tom Ruegger, Paul Dini, Sherri Stoner, Dave Marshall, Glen Kennedy, Rich Aarons (for episode "The Looney Beginning")
 * Nominated
 * 1989/1990
 * rowspan="2" | Young Artist Awards
 * Best New Cartoon Series
 * Tiny Toon Adventures
 * Won
 * 1991–1992
 * Outstanding Young Voice-Over in an Animated Series or Special
 * Whitby Hertford
 * Nominated
 * 1991
 * Environmental Media Awards
 * Children's Television Program – Animated
 * episode "Whales Tales"
 * Won
 * Nominated
 * 1991
 * Primetime Emmy Awards
 * Outstanding Animated Program
 * Steven Spielberg, Tom Ruegger, Paul Dini, Sherri Stoner, Dave Marshall, Glen Kennedy, Rich Aarons (for episode "The Looney Beginning")
 * Nominated
 * 1989/1990
 * rowspan="2" | Young Artist Awards
 * Best New Cartoon Series
 * Tiny Toon Adventures
 * Won
 * 1991–1992
 * Outstanding Young Voice-Over in an Animated Series or Special
 * Whitby Hertford
 * Nominated
 * 1991
 * Environmental Media Awards
 * Children's Television Program – Animated
 * episode "Whales Tales"
 * Won
 * Whitby Hertford
 * Nominated
 * 1991
 * Environmental Media Awards
 * Children's Television Program – Animated
 * episode "Whales Tales"
 * Won
 * episode "Whales Tales"
 * Won

In January 2009, IGN named Tiny Toons as the 41st in their Top 100 Animated TV Shows list.

Print
Tiny Toon Adventures Magazine, a quarterly children's magazine based on the series, debuted in October 1990. Issues #1–4 were published by DC Comics, and issues #5–7 were released by Welsh Publishing Group. The final issue was cover-dated Spring 1992. Also, various storybooks were published by the Little Golden Book company, including a few episode adaptations and some original stories (Lost in the Fun House and Happy Birthday, Babs!). Tiny Toon Adventures also had a comic book series made by Warner Bros. and DC. The characters also made occasional cameo appearances in the Animaniacs, Freakazoid! and Pinky and the Brain comic books.

Toys and video games
Since its debut, numerous video games based on Tiny Toons have been released. There have been no less than nine titles based on the series released after its original television run and as recently as 2002. Many companies have held the development and publishing rights for the games, including Konami (during the 1990s), Atari, NewKidCo, Conspiracy Games, Warthog, Terraglyph Interactive Studios, and Treasure. Toys for the series included plush dolls and plastic figures, primarily made by Playskool.

Home media
Tiny Toon Adventures: How I Spent My Vacation was released on DVD on August 21, 2012. There are currently no plans to release the two specials (Spring Break and Night Ghoulery) on DVD. In the early to mid-1990s, Warner Bros. had released several videos, including Tiny Toon Adventures: How I Spent My Vacation (a direct-to-video release which later aired as a four-part TV episode), Best of Buster and Babs, Two-Tone Town, Tiny Toons: Big Adventures, Tiny Toons: Island Adventures, Tiny Toons: Music Television, Tiny Toons: Fiendishly Funny Adventures, Tiny Toons: Night Ghoulery, and It's a Wonderful Tiny Toons Christmas Special.

Spin-offs
In 1992, The Plucky Duck Show was produced as a spin-off for Fox Kids, based on the character Plucky Duck. Except for the premiere episode, "The Return of Batduck", the show was consisted entirely of recycled Plucky-centric episodes from Tiny Toon Adventures.

In 1998, a second spin-off, entitled Pinky, Elmyra & the Brain, premiered on Kids' WB. This series featured the character Elmyra Duff as well as Pinky and the Brain, two other characters who were originally on Animaniacs before receiving their own spin-off series, also entitled Pinky and the Brain. Pinky, Elmyra & the Brain picks up after Pinky and the Brain leaves off where Pinky and the Brain become Elmyra's pets after Brain accidentally destroys their original home, ACME Labs, during an experiment. Pinky, Elmyra & the Brain lasted for 13 episodes.

Reboot
A reboot, Tiny Toons Looniversity, was announced on October 28, 2020, through the Amblin Entertainment website. It was ordered for two seasons, with each episode running 30 minutes. As with the original series, Steven Spielberg will return to his role as executive producer. Sam Register, Darryl Frank, and Justin Falvey will also be serving as executive producers, while Erin Gibson will be the showrunner and co-executive producer. The series premiered on Max on September 8, 2023, and it aired on Cartoon Network on September 9, 2023.

The reboot's first piece of concept art showed Buster Bunny and Babs Bunny, redesigned with different clothes and a new art style.

Tom Ascheim, then-current president of Cartoon Network, was quoted saying. "Tiny Toons Looniversity will capture all the clever, subversive and smart humor that made Tiny Toon Adventures such a standout series. Fans old and new will love to laugh at and with these characters all over again."

Shortly after the reboot's announcement, it was reported that several of the original voice actors were not going to be involved in the series. Cree Summer had revealed she was informed that Elmyra Duff was excluded. Additionally, Charlie Adler was not approached to reprise his role as Buster, nor was Maurice LaMarche as Dizzy Devil.

However, during an interview on July 12, 2021, Candi Milo said she would be returning to voice Granny but it remained uncertain if she would also be reprising her role as Sweetie Bird. A few days later, on July 15, Jeff Bergman confirmed that he would be returning to the series as well, voicing Bugs Bunny, Sylvester, and Foghorn Leghorn. He went into detail on the characters' roles in the series, explaining Foghorn would occupy as Acme Looniversity's coach, while Bugs would take on a "Dumbledore-like" personality. He also confirmed recording sessions had begun. As shown in the teaser trailer, Lola Bunny and characters from the Warner Bros.-Seven Arts era will be appearing.

On July 9, 2022, it was announced that Tiny Toons Looniversity would be part of the Looney Tunes panel at San Diego Comic-Con 2022. On July 22, it was revealed that Ashleigh Crystal Hairston would be voicing Babs, instead of Tress MacNeille. Numerous pieces of concept art were shown, revealing a revamped Acme Looniversity and its interiors. This also confirmed many of the original series' major characters would be returning, some with updated appearances. Most notably, Elmyra was included in one of these pictures, disproving the claims of her removal. Some have suggested this meant Elmyra was added back at some point or was always intended to appear. Spielberg referred to the series as "the best iteration of Tiny Toons he'd ever seen".

Character design supervisor Leonard Lee and showrunner Erin Gibson confirmed that Buster and Babs would be presented as twin siblings in the reboot, as opposed to best friends and potential romantic partners. This decision was criticized by fans of the original series. A July 2022 interview had crew members giving more details. They revealed the series was going to bring back all of the characters from the original show, "down to Arnold the Pit Bull". They also hinted at an episode which takes place in outer space. Gibson provided an explanation behind the choice to make Buster and Babs related, saying, "They're fraternal twins, which was not an original plot point. I wanted to dive into a brother/sister relationship that looked really symbiotic and collaborative and supportive, not antagonistic. Seeing two people who are really on the same page, and then how do people who are so close make new friends? You know, find out who they are by these new relationships — these new college experiences while still having fun and doing the dumbest stuff you'll ever see on TV, but having story and plot points and character development." Nate Cash added, "And they look up to the faculty, they're established Tunes who are like their gods, but then they're like, 'Who am I?' and 'What's my voice?' — which is a cool place to develop them as their own characters and not just mini versions of their counterparts."

On April 20, 2023, IGN shared an official teaser trailer on their YouTube site, stating the show was scheduled to premiere in Fall of 2023.

On June 22, 2023, the main voice cast was announced. Eric Bauza will voice Buster, Daffy Duck, and Gossamer, David Errigo Jr. will voice Plucky and Hamton, Tessa Netting will voice Sweetie, Bob Bergen and Cree Summer will reprise their roles as Porky Pig and Elmyra respectively, Candi Milo (the original voice of Sweetie) will now play Granny and Witch Hazel, and Fred Tatasciore will voice Yosemite Sam and the Tasmanian Devil, joining the aforementioned Bergman and Hairston. On July 21, 2023, two episodes were screened at San Diego Comic-Con. On the same day, the opening theme was uploaded online, with Matthew Janszen being announced as the composer. On August 18, 2023, a new trailer was released, announcing the premiere date as September 8, 2023, on Max and the following day on Cartoon Network.

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

title: Tiny Toon Adventures


text:
Ship prefix

A ship prefix is a combination of letters, usually abbreviations, used in front of the name of a civilian or naval ship that has historically served numerous purposes, such as identifying the vessel's mode of propulsion, purpose, or ownership/nationality. In the modern environment, prefixes are cited inconsistently in civilian service, whereas in government service a vessel's prefix is seldom omitted due to government regulations dictating that a certain prefix be used. Today the common practice is to use a single prefix for all warships of a nation's navy, and other prefixes for auxiliaries and ships of allied services, such as coast guards. For example, the modern navy of Japan adopts the prefix "JS" – Japanese Ship. However, not all navies use prefixes. Among the blue-water navies, those of France, Brazil, China, Russia, Germany, and Spain do not use ship prefixes. NATO designations such as FS (French Ship), FGS (Federal German Ship), and SPS (Spanish Ship) can be used if needed.

Usage
Historically, prefixes for civilian vessels often identified the vessel's mode of propulsion, such as "MV" (motor vessel), "SS" (screw steamer; often cited as "steam ship"), or "PS" (paddle steamer).

These days, general civilian prefixes are used inconsistently, and frequently not at all. In terms of abbreviations that may reflect a vessel's purpose or function, technology has introduced a broad variety of differently named vessels onto the world's oceans, such as "LPGC" (liquified petroleum gas carrier), or "TB" (tug-boat), or "DB" (derrick barge). In many cases though, these abbreviations are used for purely formal, legal identification and are not used colloquially or in the daily working environment. Prefixes indicating a vessel's purpose (e.g., "RMS" for a Royal Mail ship or "RV" for research vessel) are also used.

Prefixes used for naval ships primarily reflect ownership, but may also indicate a vessel's type or purpose as a sub-set. Historically, the most significant navy was Britain's Royal Navy, which has usually used the prefix "HMS", standing for "His/Her Majesty's Ship". The Royal Navy also adopted nomenclature that reflected a vessel's type or purpose, e.g. HM Sloop. Commonwealth navies adopted a variation, with, for example, HMAS, HMCS, and HMNZS pertaining to Australia, Canada, and New Zealand, respectively.

In the early days of the United States Navy, abbreviations often included the type of vessel, for instance "USF" (United States Frigate), but this method was abandoned by President Theodore Roosevelt's Executive Order No. 549 of 1907, which made "United States Ship" (USS) the standard signifier for USN ships on active commissioned service. United States Navy prefixes officially only apply while a ship is in active commission, with only the name used before or after a period of commission and for all vessels "in service" rather than commissioned status.

However, not all navies used prefixes; this includes the significant navies of China, France and Russia.

From the 20th century onwards, most navies identify ships by letters or hull numbers (pennant numbers) or a combination of such. These identification codes were, and still are, painted on the side of the ship. Each navy has its own system: the United States Navy uses hull classification symbols, and the Royal Navy (e.g. 'D35' is destroyer 35 – HMS Dragon) and other navies of Europe and the Commonwealth use pennant numbers.

These tables list both current and historical prefixes known to have been used.

Generic (merchant navy) prefixes
These prefixes are generally used for merchant vessels of any nationality.

Prefix conventions
The designations for United Kingdom ships applied at the time of the British Empire, before the establishment of separate navies for the Dominions.

In the Royal Netherlands Navy, "HNLMS" is the prefix in English, a translation of the Dutch original "Hr.Ms." or "Zr.Ms.". "Hr.Ms." should preferably not be used in English-language documents; nevertheless it is often seen on the World Wide Web. Until the moment a Dutch naval ship officially enters active service in the fleet, the ship's name is used without the prefix. Since King Willem-Alexander succeeded Queen Beatrix on 30 April 2013, "Hr.Ms." is replaced by "Zr.Ms.".

In Australia, the prefix NUSHIP is used to denote ships that have yet to be commissioned into the fleet.

In the United States, all prefixes other than "USS", "USNS", "USNV", and "USRC" were made obsolete in 1901, when President Theodore Roosevelt issued an Executive order fixing American naval nomenclature. USRC was replaced by USCGC when the Revenue Cutter Service merged with the United States Lifesaving Service to become the United States Coast Guard in 1915. USLHT also was replaced by USCGC when the United States Lighthouse Service became a part of the U.S. Coast Guard in 1939. USC&GS was replaced by NOAAS when the United States Coast and Geodetic Survey merged with other U.S. Government scientific agencies to form the National Oceanic and Atmospheric Administration (NOAA) in 1970. USFC was replaced by USFS when the United States Commission on Fish and Fisheries was reorganized as the U.S. Bureau of Fisheries in 1903, and USFS in turn was replaced in 1940 by US FWS when the Bureau of Fisheries merged with the United States Department of the Interior's Division of Biological Survey to form the Department of the Interior's Fish and Wildlife Service (which in 1956 was reorganized as the United States Fish and Wildlife Service). Seagoing ships Fish and Wildlife Service ships with the prefix US FWS that were transferred to NOAA when NOAA was created in 1970 switched to the NOAAS prefix.

A United States Navy ship that is not in active commission does not hold the title of United States Ship with simply the name without prefix used before and after commissioned service. Vessels, such as yard and harbor craft that are not commissioned and "in service" are officially referred to by name or hull number without prefix. Prior to commissioning, ships may be described as a pre-commissioning unit or PCU; for example, USS Gerald R. Ford was described as the "pre-commissioning unit (PCU) Gerald R. Ford" prior to her commissioning in 2017. Military Sealift Command (MSC) civilian crewed ships "in service" are given the prefix United States Naval Ship (USNS).

When it is stricken from the fleet list, a ship typically has the prefix "ex-" added to its name, to distinguish it from any active ships bearing the same name. For example, after USS Constellation (CV-64) was retired in 2003, she became referred to as ex-Constellation.

In science fiction
Fictional equivalents of tri-letter prefixes frequently appear in English-language science fiction works, applied to seafaring and spaceborne ships alike.
 * Star Trek – the United Federation of Planets uses the prefix "USS" for its starships. Dialogue in earlier episodes of the series indicated that it referred to "United Space Ship". In the alternate "Mirror Universe", the Terran Empire use an "ISS" prefix instead. Other races use different prefixes for their ships:
 * Klingons use IKS (Imperial Klingon Ship) or IKC (Imperial Klingon Cruiser).
 * Romulan vessels typically receive the prefix IRW (Imperial Romulan Warbird), or RIS where some speculate that it means "Romulan Imperial Ship", and ChR. (ChR is from novelist Diane Duane's imagining of the Star Trek Universe, in which the Romulans refer to their home planet as "Ch'Rihan". Though Duane's version has a loyal following among many fans, it is not considered official Star Trek canon; similarly, the Ferengi designation of FMS, and the Cardassian CDS, are also not canon.)
 * Star Wars – The Galactic Empire sometimes uses the prefix ISD for Imperial Star Destroyer.
 * Babylon 5 – The Earth Alliance uses the prefix "EAS" for "Earth Alliance Ship". Some fan material also uses it for "Earth Alliance Station".
 * Elite: Dangerous – The Federation uses the prefix "FNS" (Federal Naval Ship) for some military ships. The Empire uses "INV" (Imperial Naval Vessel). The alliance uses "ADF" (Alliance Defense Force).
 * Firefly – Vessels in the Union of Allied Planets fleet are given the prefix "IAV", for Interstellar Alliance Vessel.
 * Wing Commander – The Terran Confederation uses TCS (Terran Confederation Ship) for its vessels.
 * Halo – United Nations Space Command spacecraft use the prefix "UNSC". The Covenant use three letter designations for ship class such as CAS or CSO
 * Mass Effect – features several prefixes, primarily "SSV" for "Systems Alliance space vehicle" and "MSV" for "Merchant Space Vehicle", used on numerous human commercial ships, as well as "PFS" for a Turian Hierarchy naval craft, and a freighter AML Demeter of unknown affiliation.
 * Dead Space – "USG", standing for "United Spacefaring Guild", which oversees civilian spacecraft operation, including the planet-cracker class leader USG Ishimura of the Concordance Extraction Corporation; "USM" for the Earth Defense Force of EarthGov; and "CMS" for its former opponents, the Sovereign Colonies Armed Forces.
 * StarCraft: Brood War – The United Earth Directorate uses DSS (presumably for Directorate Space Ship, e. g. DSS Aleksander); the Terran Confederacy used CSF (Confederate Space Fleet, e. g. CSF Ragnorak) for their battlecruisers.
 * Killzone – The Interplanetary Strategic Alliance (ISA) uses "ISC", for Interplanetary Strategic Cruiser.
 * The Moon is a Harsh Mistress – The Federated Nations use "FNS", presumably meaning "Federated Nations Ship".
 * Alien – The ships use prefix "USCSS" for "United States Cargo SpaceShip" on the Nostromo, Prometheus, and Covenant.
 * The Lost Fleet – The Alliance use the prefix "ASN" for "Allied Systems Navy" (or possibly "Alliance of Systems Navy"), the Syndicate Worlds do not use prefixes.
 * CoDominium – CoDominium vessels use the prefix "CDS" for CoDominium Ship.
 * "Honorverse" – The Manticoran kingdom uses "HMS" as a prefix, the Graysons use "GNS"(Grayson Navy Ship), and the Havenite ships use "PNS" (People's Navy Ship) and later "RHNS" (Republic of Haven Navy Ship), being reflections of actual ship prefixing traditions, and mirroring the Napoleonic wars. The Solarian League uses "SLNS" (Solarian League Navy Ship) and the Andermani Empire uses "IANS" for Imperial Andermani Navy Ship.
 * The Culture – Ships are identified by a three-letter prefix denoting class (such as GSV for "General Systems Vehicle" or ROU for "Rapid Offensive Unit"), followed by their personal name.
 * The Expanse – Ships of the United Nations Navy use the prefix "UNN," while ships of the Martian Congressional Republic Navy are prefixed with "MCRN". The Nauvoo, a generation ship commissioned by the Church of Latter Day Saints was prefixed with "LDSS" for "Latter Day Saints' Ship", and later changed to "OPAS" and re-christened as the "OPAS Behemoth" representing the Outer Planets Alliance.
 * Unreal Tournament – Ships mentioned there have prefixes such as ITV ("Interstellar Transport Vessel", the first non-tutorial match in the tournament happens on board of ITV Oblivion) and ISV ("Interstellar Science Vessel", ship's name being ISV-Kran from Unreal).
 * Unreal: Return to Na Pali – ISV (ISV-Kran) and UMS ("Unified Military Services", a prefix for warships).
 * The Orville—The Planetary Union uses the prefix "USS", presumably for "Union Space Ship" (in homage to Star Trek).
 * Treasure Planet: Battle at Procyon - The Terran Empire uses the prefix RLS, which stands for Royal Light Ship; this is also a direct homage to Robert Louis Stevenson, author of the original Treasure Island. The Procyon Expanse uses the prefix PSR, which stands for Procyon Star Runner.
 * Destroyermen - the Grand Alliance uses the "USS" prefix, since all Allied warships are run by the Americaan (sic) Clan. The Alliance's only airship is given the prefix "UHAS" (United Homes Air Ship). The Empire of New Britain Isles uses "HIMS" (His/Her Imperial Majesty's Ship). The Republic of Real People uses "RRPS" (Republic of Real People Ship). The New United States uses "NUSS" (New United States Ship). Neither the Holy Dominion nor the League of Tripoli use prefixes, although the KMS Hessen is mentioned once, it is not clear if the prefix is internally used or not.
 * Titanfall - The Interstellar Manufacturing Corporation, the main antagonists of the series, use the "IMS" prefix. The origin of this prefix is unknown.
 * FreeSpace - A variety of ship prefixes are used depending on the species, faction allegiance, and class of the vehicle. Prominent examples include: "GT" and "GV" for "Galactic Terran" and "Galactic Vasudan" respectively, "NT" for "Neo-Terran," "PV" for "Parliamentary Vasudan," and just "S" for "Shivan." These are then further supplemented with a type of ship identifier following the species and faction prefixes, such as "B" for "Bomber," "C" for "Cruiser," "Cv" for "Corvette," "D" for "Destroyer," and "F" for "Fighter," among many examples. As such, "PVD" would indicate a "Parliamentary Vasudan Destroyer," "NTF" would indicate a "Neo-Terran Fighter," "GTC" would indicate a "Galactic Terran Cruiser", "GVCv" would indicate a "Galactic Vasudan Corvette," and "SB" would indicate a "Shivan Bomber."

title: Ship prefix


text:
Television film

A television film, alternatively known as a television movie, made-for-TV film/movie, telefilm, telemovie or TV film/movie, is a feature-length film that is produced and originally distributed by or to a television network, in contrast to theatrical films made for initial showing in movie theaters, and direct-to-video films made for initial release on home video formats. In certain cases, such films may also be referred to and shown as a miniseries, which typically indicates a film that has been divided into multiple parts or a series that contains a predetermined, limited number of episodes.

Origins and history
Precursors of "television movies" include Talk Faster, Mister, which aired on WABD (now WNYW) in New York City on December 18, 1944, and was produced by RKO Pictures, and the 1957 The Pied Piper of Hamelin, based on the poem by Robert Browning, and starring Van Johnson, one of the first filmed "family musicals" made directly for television. That film was made in Technicolor, a first for television, which ordinarily used color processes originated by specific networks. Most "family musicals" of the time, such as Peter Pan, were not filmed but broadcast live and preserved on kinescope, a recording of a television program made by filming the picture from a video monitor – and the only (relatively inexpensive) method of recording a television program until the invention of videotape.

Many television networks were against film programming, fearing that it would loosen the network's arrangements with sponsors and affiliates by encouraging station managers to make independent deals with advertisers and film producers.

Conversely, beginning in the 1950s episodes of American television series would be placed together and released as feature films in overseas cinemas.

Television networks were in control of the most valuable prime time slots available for programming, so syndicators of independent television films had to settle for fewer television markets and less desirable time periods. This meant much smaller advertising revenues and license fees compared with network-supplied programming.

The term "made-for-TV movie" was coined in the United States in the early 1960s as an incentive for movie audiences to stay home and watch what was promoted as the equivalent of a first-run theatrical film. Beginning in 1961 with NBC Saturday Night at the Movies, a prime time network showing of a television premiere of a major theatrical film release, the other networks soon copied the format, with each of the networks having several [Day of the Week] Night At The Movies showcases which led to a shortage of movie studio product. The first of these made-for-TV movies is generally acknowledged to be See How They Run, which debuted on NBC on October 7, 1964. A previous film, The Killers, starring Lee Marvin and Ronald Reagan, was filmed as a TV-movie, although NBC decided it was too violent for television and it was released theatrically instead.

The second film to be considered a television movie, Don Siegel's The Hanged Man, was broadcast by NBC on November 18, 1964.

These features originally filled a 90-minute programming time slot (including commercials), later expanded to two hours, and were usually broadcast as a weekly anthology television series (for example, the ABC Movie of the Week). Many early television movies featured major stars, and some were accorded higher budgets than standard television series of the same length, including the major dramatic anthology programs which they came to replace.

In 1996, 264 made-for-TV movies were made by five of the six largest American television networks at the time (CBS, NBC, Fox, ABC, and UPN), averaging a 7.5 rating. By 2000, only 146 TV movies were made by those five networks, averaging a 5.4 rating, while the number of made-for-cable movies made annually in the U.S. doubled between 1990 and 2000.

In several respects, television films resemble B movies, the low-budget films issued by major studios from the 1930s through the 1950s for short-term showings in movie theaters, usually as a double bill alongside a major studio release. Like made-for-TV movies, B movies were designed as a disposable product, had low production costs and featured second-tier actors.

Examples
ABC's Battlestar Galactica: Saga of a Star World premiered to an audience of over 60 million people on September 17, 1978.

The most-watched television movie of all time was ABC's The Day After, which premiered on November 20, 1983, to an estimated audience of 100 million people. The film depicted America after a nuclear war with the Soviet Union, and was the subject of much controversy and discussion at the time of its release due to its graphic nature and subject matter. The BBC's 1984 television film Threads earned a similar reputation in the United Kingdom as it followed two families and workers of Sheffield City Council in the run up and aftermath of a nuclear war. The two are often compared on aspects such as realism.

Another popular and critically acclaimed television movie was 1971's Duel, written by Richard Matheson, directed by Steven Spielberg and starring Dennis Weaver. Such was the quality and popularity of Duel that it was released to cinemas in Europe and Australia, and had a limited theatrical release to some venues in the United States and Canada. The 1971 made-for-TV movie Brian's Song was also briefly released to theatres after its success on television, and was even remade in 2001. In some instances, television movies of the period had more explicit content included in the versions prepared to be exhibited theatrically in Europe. Examples of this include The Legend of Lizzie Borden, Helter Skelter, Prince of Bel Air and Spectre.

Many television movies released in the 1970s were a source of controversy, such as Linda Blair's 1974 film Born Innocent and 1975's Sarah T. - Portrait of a Teenage Alcoholic, as well as 1976's Dawn: Portrait of a Teenage Runaway and its 1977 sequel, Alexander: The Other Side of Dawn, which were vehicles for former Brady Bunch actress Eve Plumb. Another significant film was Elizabeth Montgomery's portrayal of a rape victim in the drama A Case of Rape (1974).

My Sweet Charlie (1970) with Patty Duke and Al Freeman Jr. dealt with racial prejudice, and That Certain Summer (1972), starring Hal Holbrook and Martin Sheen, although controversial, was considered the first television movie to approach the subject of homosexuality in a non-threatening manner. If These Walls Could Talk, a film which deals with abortion in three different decades (the 1950s, the 1970s and the 1990s) became a huge success, and was HBO's highest rated film on record.

If a network orders a two-hour television pilot for a proposed show, it will usually broadcast it as a television movie to recoup some of the costs even if the network chooses to not order the show to series. Often a successful series may spawn a television movie sequel after ending its run. For example, Babylon 5: The Gathering launched the science fiction series Babylon 5 and is considered to be distinct from the show's regular run of one-hour episodes. Babylon 5 also has several made-for-TV movie sequels set within the same fictional continuity. The 2003 remake of Battlestar Galactica began as a two-part miniseries that later continued as a weekly television program. Another example is the Showtime movie Sabrina, the Teenage Witch, which launched the sitcom of the same name that originally aired on ABC, and used the same actress (Melissa Joan Hart) for the lead role in both. The term "TV movie" is also frequently used as vehicles for "reunions" of long-departed series, as in Return to Mayberry and A Very Brady Christmas. They can also be a spin-off from a TV series including The Incredible Hulk Returns, The Trial of the Incredible Hulk and The Death of the Incredible Hulk.

Occasionally, television movies are used as sequels to successful theatrical films. For example, only the first film in The Parent Trap series was released theatrically. The Parent Trap II, III and Hawaiian Honeymoon were produced for television, and similarly, the Midnight Run sequels have all been released as made-for-TV movies despite the first having a strong run in theaters. These types of films may be, and more commonly are, released direct-to-video; there have been some films, such as The Dukes of Hazzard: The Beginning (a prequel to the film version of The Dukes of Hazzard) and James A. Michener's Texas, which have been released near simultaneously on DVD and on television, but have never been released in theatres.

Made-for-TV movie musicals have also become popular. One prime example is the High School Musical series, which aired its first two films on the Disney Channel. The first television movie was so successful that a sequel was produced, High School Musical 2, that debuted in August 2007 to 17.2 million viewers (this made it the highest-rated non-sports program in the history of basic cable and the highest-rated made-for-cable movie premiere on record). Due to the popularity of the first two films, the second HSM sequel, High School Musical 3: Senior Year, was released as a theatrical film in 2008 instead of airing on Disney Channel; High School Musical 3 became one of the highest-grossing movie musicals.

Television movies traditionally were often broadcast by the major networks during sweeps season. Such offerings now are very rare; as Ken Tucker noted while reviewing the Jesse Stone CBS television movies, "broadcast networks aren't investing in made-for-TV movies anymore". The slack has been taken up by cable networks such as Hallmark Channel, Syfy, Lifetime and HBO, with productions such as Temple Grandin and Recount, often utilizing top creative talent.

High-calibre limited programming which would have been formerly scheduled solely as a two-hour film or miniseries also has been re-adapted to the newer "limited series" format over a period of weeks (rather than the consecutive days usually defined by a miniseries) where a conclusion is assured; an example of such would be The People v. O. J. Simpson: American Crime Story, and these are most often seen on cable networks and streaming services such as Netflix.

Production and quality
In a 1991 New York Times article, television critic John J. O'Connor wrote that "few artifacts of popular culture invite more condescension than the made-for-television movie". Network-made television movies in the United States have tended to be inexpensively-produced and perceived to be of low quality. Stylistically, these films often resemble single episodes of dramatic television series. Often, television films are made to "cash in" on the interest centering on stories currently prominent in the news, as the films based on the "Long Island Lolita" scandal involving Joey Buttafuoco and Amy Fisher were in 1993.

The stories are written to reach periodic semi-cliffhangers coinciding with the network-scheduled times for the insertion of commercials, and are further managed to fill, but not exceed, the fixed running times allotted by the network to each movie "series". In the case of films made for cable channels, they may rely on common, repetitive tropes (Hallmark Channel, for example, is notorious for its formulaic holiday romances, while Lifetime movies are well known for their common use of damsel in distress storylines). The movies tend to rely on smaller casts, one such exception being those produced for premium cable, such as Behind the Candelabra (which featured established film actors Michael Douglas and Matt Damon in the lead roles) and a limited range of scene settings and camera setups. Even Spielberg's Duel, while having decent production values, features a very small cast (apart from Dennis Weaver, all other actors appearing in the film play smaller roles) and mostly outdoor shooting locations in the desert.

The movies typically employ smaller crews, and rarely feature expensive special effects. Although a film's expenses would be lessened by filming using video, as the movies were contracted by television studios, these films were required to be shot on 35 mm film. Various techniques are often employed to "pad" television movies with low budgets and underdeveloped scripts, such as music video-style montages, flashbacks, or repeated footage, and extended periods of dramatic slow motion footage. However, the less expensive digital 24p video format has made some quality improvements on the television movie market.

Part of the reason for the lower budgets comes from the lack of revenue streams from them; whereas a theatrical film can make money from ticket sales, ancillary markets, and syndication, most television films lacked those revenue streams, and the films are seldom rerun. Raconteur Jean Shepherd produced several television films in the 1970s and 1980s before realizing that the proceeds from his first theatrical film, A Christmas Story (released in 1983), far exceeded anything he had ever done in television.

Nonetheless, notable exceptions exist of high production quality and well-known casts and crews that even earned awards, such as The Diamond Fleece, a 1992 Canadian TV film directed by Al Waxman and starring Ben Cross, Kate Nelligan and Brian Dennehy. It earned Nelligan the 1993 Gemini Award for "Best Performance by an Actress in a Leading Role in a Dramatic Program or Mini-Series".

Movie-length episodes of television shows
Occasionally, a long-running television series is used as the basis for television movies that air during the show's run (as opposed to the above-mentioned "reunion specials"). Typically, such movies employ a filmed single-camera setup even if the television series is videotaped using a multiple-camera setup, but are written to be easily broken up into individual 30- or 60-minute episodes for syndication. Many such movies relocate the cast of the show to an exotic overseas setting. However, although they may be advertised as movies, they are really simply extended episodes of television shows, such as the pilots and the finales of Star Trek: The Next Generation, Star Trek: Deep Space Nine and Star Trek: Voyager. Most of these are made and shown during sweeps period in order to attract a large television audience and boost viewership for a show.

Crossover episodes containing a number of episodes of the characters of individual series interacting with characters across different shows (as has been done with the CSI, NCIS and Chicago franchises, along with between Murder, She Wrote and Magnum, P.I., Scandal and How to Get Away with Murder, and Ally McBeal and The Practice) also play as films, encouraging tune-in among all the series crossed over to effectively create a multiple-hour plot that plays as a film when watched as a whole.

title: Television film


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Bobby Fuller

Robert Gaston Fuller (October 22, 1942 – July 18, 1966) was an American rock singer, songwriter, and guitarist best known for "Let Her Dance" and his cover of the Crickets' "I Fought the Law," recorded with his group The Bobby Fuller Four.

Early life
Born in Baytown, Texas, Fuller was born to Leonard and Eva Barrett Fuller, the middle of three boys, having a maternal older half-brother, Jack, and a younger brother, Randy. Fuller moved as a small child to Salt Lake City, Utah, where he remained until 1956, when he and his family moved to El Paso, Texas. His father got a job at El Paso Natural Gas at that time. It was the same year that Elvis Presley became popular, and Bobby Fuller became mesmerized by the new rock and roll star. Fuller soon adopted the style of fellow Texan Buddy Holly, fronting a four-man combo and often using original material.

Career
During the early 1960s, he played in clubs and bars in El Paso, and he recorded on independent record labels in Texas with a constantly changing line-up. The only constant band members were Fuller and his younger brother, Randy, on bass. These independent releases (except two songs recorded at the studio of Norman Petty in Clovis), and an excursion to Yucca Records, also in New Mexico, were recorded in the Fullers' own home studio, with Fuller acting as the producer. He even built a primitive echo chamber in the back yard. The quality of the recordings, using a couple of microphones and a mixing board purchased from a local radio station, was so impressive that he offered the use of his "studio" to local acts for free so he could hone his production skills.

Fuller moved to Los Angeles in 1964 with his band The Bobby Fuller Four and was signed to Mustang Records by producer Bob Keane, who was noted for discovering Ritchie Valens and producing many surf music groups. By this time, the group consisted of Fuller and his brother Randy on vocals/guitar and bass respectively, Jim Reese on guitar and DeWayne Quirico on drums. This lineup recorded "I Fought The Law". (There are actually two versions of "I Fought The Law" by Fuller, the original hit that was released as a 45-rpm single and the re-recording that was issued on an album. The arrangements are identical, but the vocals by Fuller are slightly different.)

At a time when the British Invasion and folk rock were the dominant genres in rock, Fuller stuck to Buddy Holly's style of classic rock and roll with Tex Mex flourishes. His recordings, both covers and originals, also reveal the influences of Eddie Cochran, The Beatles, Elvis Presley, Little Richard, and The Everly Brothers, as well as surf guitar. Less well known was Fuller's ability to emulate the reverb-laden surf guitar of Dick Dale and The Ventures. His first Top 40 hit was the self-penned "Let Her Dance". His second hit, "I Fought the Law", peaked at No. 9 on the Billboard Hot 100 on March 12–19, 1966. The song was originally written and recorded by Sonny Curtis, who became a member of Buddy Holly's former group The Crickets after Holly's death. The group's third Top 40 single was a cover of Holly's "Love's Made a Fool of You".

Death
Within months of "I Fought the Law" becoming a top 10 hit, Fuller was found dead in an automobile parked outside his Hollywood apartment. The Los Angeles deputy medical examiner, Jerry Nelson, performed the autopsy. According to Dean Kuipers: "The report states that Bobby's face, chest, and side were covered in 'petechial hemorrhages,' probably caused by gasoline vapors and the summer heat. He found no bruises, no broken bones, no cuts. No evidence of beating." Kuipers further explains that boxes for "accident" and "suicide" were checked, but next to the boxes were question marks. Despite the official cause of death, some commentators believe Fuller was murdered.

Erik Greene, a relative of Sam Cooke, has cited similarities in the deaths of Cooke and Fuller. Fuller's bandmate Jim Reese suspected that Charles Manson played a role in Fuller's death, but never provided credible evidence; Manson was in prison from 1961 to 1967. A sensationalist crime website has speculated that the Los Angeles Police Department may have been involved because of Fuller's connection to a Mafia-related woman.

Fuller was buried at Forest Lawn Memorial Park in the Hollywood Hills of Los Angeles. His death was profiled in a segment of Unsolved Mysteries.

His death was also explored in the May 11, 2015, episode of the NPR program All Things Considered. The program references the book I Fought the Law: The Life and Strange Death of Bobby Fuller by Miriam Linna, with contributions by Randy Fuller. Sometime after the Unsolved Mysteries segment in question initially aired, the cause of Fuller's death was officially changed from "suicide" to "accident".

In popular culture
New York City Celtic rock band Black 47 released a song titled "Who Killed Bobby Fuller" on their second album, Home of the Brave, in 1994, and Atlanta indie rock band The Rock*A*Teens released an identically titled song on their 1996 self-titled debut album. Lou Reed referenced both Bobby Fuller by name and "I Fought the Law" on the track "Dirt" from his 1978 album Street Hassle, as did indie rock band Metric on their 2006 single "Monster Hospital". In 2013, producer and artist Terry Manning released a tribute album to his friend and mentor Bobby Fuller entitled West Texas Skyline. In 2016 the Austin band Holy Wave (whose members are originally from El Paso) released the song "California Took My Bobby Away" about Bobby Fuller, featured on their album Freaks of Nurture. In 2017, Chuck Prophet released an album titled Bobby Fuller Died for Your Sins.

Studio albums

 * KRLA King of the Wheels (1965)
 * I Fought the Law (1966)

Live albums

 * Celebrity Night at PJ's (cancelled — originally to be released as Mustang M-902 [mono] / MS-902 [stereo]; finally issued in the Never to Be Forgotten: The Mustang Years box set) 5

Original US singles

 * "You're in Love"/"Guess We'll Fall in Love" (Yucca 45–140, 1961) 1
 * "You're in Love"/"Guess We'll Fall in Love" (Yucca 45-140 [re-recordings], 1962) 1
 * "Gently My Love"/"My Heart Jumped" (Yucca 45–144, 1962) 2
 * "Nervous Breakdown"/"Not Fade Away" (Eastwood NO8W-0344/NO8W-0345, 1962) 2
 * "Saturday Night"/"Stringer" (Todd 45–1090, 1963) 2
 * "Wine, Wine, Wine"/"King of the Beach" (Exeter EXT-122, 1964) 2
 * "I Fought the Law"/"She's My Girl" (Exeter EXT-124, 1964) 2
 * "Fool of Love"/"Shakedown" (Exeter EXT-126, 1964) 3
 * "Those Memories of You"/"Our Favorite Martian" (Donna 1403, 1964) 3
 * "Wolfman"/"Thunder Reef" (Mustang 3003, recorded 1964/released January 1965) 4
 * "Take My Word"/"She's My Girl" (Mustang 3004, 1965) 5
 * "Let Her Dance"/"Another Sad and Lonely Night" (Mustang 3006, 1965) 5
 * "Let Her Dance"/"Another Sad and Lonely Night" (Liberty 55812 [reissue], 1965) 5
 * "Let Her Dance"/"Another Sad and Lonely Night" (Mustang 3012 [re-release], 1965) 5
 * "Never to Be Forgotten"/"You Kiss Me" (Mustang 3011, 1965) 5
 * "I Fought the Law"/"Little Annie Lou" (Mustang 3014, 1965) 5
 * "Love's Made a Fool of You"/"Don't Ever Let Me Know" (Mustang 3016, 1966) 5
 * "The Magic Touch"/"My True Love" (Mustang 3018, 1966) 5
 * "The Magic Touch"/"I'm a Lucky Guy" (Mustang 3018 [alternate issue], 1966) 5
 * "It's Love, Come What May"/"It's Love, Come What May" (Mustang 3020 [DJ promo], 1966) 5
 * "It's Love, Come What May" (with Randy Fuller's over-dubbed vocal)/"Wolfman" (Mustang 3020, 1966) 5

Compilations and reissues

 * The Bobby Fuller Memorial Album (LP, President 1003, 1968) 5
 * The Best of the Bobby Fuller Four (LP, Rhino RNDF-201, 1981) 5
 * KRLA King of the Wheels (LP, Line LP-5146, 1981) 5
 * I Fought the Law (LP, Line LP-5133, 1981) 5
 * The Bobby Fuller Memorial Album (LP, Strand 6.24885, 1982) 5
 * Let Them Dance (The Rare Sides) (LP, OutLine OLLP-5272, 1983) 5
 * Live on Stage (LP, OutLine OLLP-5302, 1983) 5
 * I Fought the Law (LP, Eva 12032, 1983) 5
 * Live Again (LP, Eva 12046, 1984) 5
 * The Bobby Fuller Tapes, Volume One (LP, Rhino RNLP-057, 1983) 2
 * The Bobby Fuller Tapes, Volume Two (LP, Voxx 200.028, 1984) 2
 * Memories of Buddy Holly (LP, Rockhouse 8407, 1984) 2
 * The Bobby Fuller Instrumental Album (LP, Rockhouse 8504, 1985) 2
 * The Best of the Bobby Fuller Four (CD, Rhino 70174, 1990) 5
 * The Bobby Fuller Four (CD, Ace CDCHD-956, 1990) 5
 * Live at PJ's...Plus! (CD, Ace CDCHD-314, 1991) 5
 * The Best of the Bobby Fuller Four (CD, Ace CDCHD-388, 1992) 5
 * The Bobby Fuller Four (CD, Del-Fi DFCD-70174, 1994) 5
 * Shakedown! The Texas Tapes Revisited (2-CD box set, Del-Fi DFBX-2902, 1996) 2
 * Never to Be Forgotten: The Mustang Years (3-CD box set, Mustang/Del-Fi DFBX-3903, 1997) 5
 * El Paso Rock: Early Recordings, Volume 1 (CD, Norton 252, 1996) 2
 * El Paso Rock, Volume 2: More Early Recordings (CD, Norton 260, 1997) 2
 * The Mustang Years (2LP, Munster MR-184, 2000) 5
 * I Fought the Law and Others (7-inch EP, Munster 7141, 2000) 5
 * I Fought the Law: The Best of the Bobby Fuller Four (CD, Del-Fi/Rhino 71904, 2001) 5
 * I Fought the Law and Other Hits (CD, Flashback/Rhino 78170, 2004) 5
 * Rhino Hi-Five: The Bobby Fuller Four (CD, Rhino 7????, 2006) 5
 * Rock And Roll King of the Southwest: The Best of the Texas Years 1962-64 (LP, Norton 325, 2007) 2
 * Bobby Fuller Live!!! (LP, Norton 326, 2007) 2
 * El Paso Rock: Early Recordings, Volume 3 (CD, Norton 318, 2010) 2
 * Magic Touch: The Complete Mustang Singles Collection (CD, Now Sounds [UK] WCRNOW-57, 2018) 5

1 Released as by 'Bobby Fuller / Guitarist Jim Reese and the Embers, Vocal'. Note: issued twice with the same catalog number, but with completely different versions of both tracks. 2 Released as by Bobby Fuller 3 Released as by Bobby Fuller and the Fanatics 4 Released as by the Shindigs 5 Released as by the Bobby Fuller Four

title: Bobby Fuller


text:
Society of Motion Picture and Television Engineers

The Society of Motion Picture and Television Engineers (SMPTE) (, rarely ), founded in 1916 as the Society of Motion Picture Engineers or SMPE, is a global professional association of engineers, technologists, and executives working in the media and entertainment industry. As an internationally recognized standards organization, SMPTE has published more than 800 technical standards and related documents for broadcast, filmmaking, digital cinema, audio recording, information technology (IT), and medical imaging.

SMPTE also publishes the SMPTE Motion Imaging Journal, provides networking opportunities for its members, produces academic conferences and exhibitions, and performs other industry-related functions. SMPTE membership is open to any individual or organization with an interest in the subject matter. In the US, SMPTE is a 501(c)3 non-profit charitable organization.

History
An informal organizational meeting was held in April 1916 at the Astor Hotel in New York City. Enthusiasm and interest increased, and meetings were held in New York and Chicago, culminating in the founding of the Society of Motion Picture Engineers in the Oak Room of the Raleigh Hotel, Washington DC on the 24th of July. Ten industry stakeholders attended and signed the Articles of Incorporation. Papers of incorporation, were executed on 24 July 1916, were filed on 10 August in Washington DC. With a second meeting scheduled, invitations were telegraphed to Jenkin’s industry friends, i.e., key players and engineering executives in the motion picture industry.

Three months later, 26 attended the first “official” meeting of the Society, the SMPE, at the Hotel Astor in New York City, on 2 and 3 October 1916. Jenkins was formally elected president, a constitution ratified, an emblem for the Society approved, and six committees established.

At the July 1917 Society Convention in Chicago, a set of specifications including the dimensions of 35 mm film, 16 frames per second, etc. were adopted. SMPE set and issued a formal document reached by consensus, its first as an accredited Standards Development Organization (SDO), registering the specifications with the United States Bureau of Standards.

The SMPTE Centennial Gala took place on Friday, 28 October 2016, following the annual Conference and Exhibition; James Cameron and Douglas Trumbull received SMPTE’s top honors. SMPTE officially bestowed Honorary Membership, the Society’s highest honor, upon Avatar and Titanic director Cameron in recognition of his work advancing visual effects (VFX), motion capture, and stereoscopic 3D photography, as well as his experimentation in HFR. Presented by Oscar-winning special effects cinematographer Richard Edlund, SMPTE honored Trumbull, who was responsible for the VFX in 2001: A Space Odyssey and Blade Runner, with the Society’s most prestigious medal award, the Progress Medal. The award recognized Trumbull’s contributions to VFX, stereoscopic 3D, and HFR cinema, including his current work to enable stereoscopic 3D with his 120-frames-per-second Magi system.

Educational and professional development activities
SMPTE's educational and professional development activities include technical presentations at regular meetings of its local Sections, annual and biennial conferences in the US and Australia and the SMPTE Motion Imaging Journal. The society sponsors many awards, the oldest of which are the SMPTE Progress Medal, the Samuel Warner Memorial Medal, and the David Sarnoff Medal. SMPTE also has a number of Student Chapters and sponsors scholarships for college students in the motion imaging disciplines.

Standards
SMPTE standards documents are copyrighted and may be purchased from the SMPTE website, or other distributors of technical standards. Standards documents may be purchased by the general public. Significant standards promulgated by SMPTE include:

 * All film and television transmission formats and media, including digital.
 * Physical interfaces for transmission of television signals and related data (such as SMPTE timecode and the serial digital interface) (SDI)
 * SMPTE color bars
 * Test card patterns and other diagnostic tools
 * The Material Exchange Format (MXF)
 * SMPTE 2110
 * SMPTE ST 421:2013 (VC-1 video codec)

Film format
SMP(T)E'S first standard was to get everyone using 35-mm film width, four sprocket holes per frame, 1.37:1 picture ratio. Until then, there were competing film formats. With the standard, theaters could all run the same films.

Film frame rate
SMP(T)E's standard in 1927 was for speed at which sound film is shown, 24 frames per second.

3D television
SMPTE's taskforce on "3D to the home" produced a report on the issues and challenges and suggested minimum standards for the 3D home master that would be distributed after post-production to the ingest points of distribution channels for 3D video content. A group within the standards committees has begun to work on the formal definition of the SMPTE 3D Home Master.

Digital cinema
In 1999, SMPTE established the DC28 technology committee, for the foundations of Digital Cinema.

Membership
=== SMPTE Fellows ===

 * Terry Adams, NBC Olympics, LLC
 * Andy Beale, BT Sport
 * Lynn D. Claudy, National Association of Broadcasters
 * Lawrence R. Kaplan, CEO of SDVI

Honors and awards program
The SMPTE presents awards to individuals for outstanding contributions in fields of the society.

Honorary membership and the honor roll
Recipients include:

 * Renville "Ren" H. McMann Jr. (2017)
 * James Cameron (2016)
 * Oscar B. "O.B." Hanson (2015)
 * George Lucas (2014)
 * John Logie Baird (2014)
 * Philo Taylor Farnsworth (1996)
 * Ray M. Dolby (1992)
 * Linwood G. Dunn (1984)
 * Herbert T. Kalmus (1958)
 * Walt Disney (1955)
 * Vladimir K. Zworykin (1950)
 * Samuel L. Warner (1946)
 * George Eastman (1928)
 * Thomas Alva Edison (1928)
 * Louis Lumiere (1928)
 * C. Francis Jenkins (1926)

Progress Medal
The Progress Medal, instituted in 1935, is SMPTE's oldest and most prestigious medal, and is awarded annually for contributions to engineering aspects of the film and/or television industries.

Recipients include:

 * Douglas Trumbull (2016)
 * Ioan Allen (2014)
 * David Wood (2012)
 * Edwin Catmull (2011)
 * Birney Dayton (2008)
 * Clyde D. Smith (2007)
 * Roderick Snell (2006)
 * S. Merrill Weiss (2005)
 * Dr. Kees Immink (2004)
 * Stanley N. Baron (2003)
 * William C. Miller (2002)
 * Bernard J. Lechner (2001)
 * Edwin E. Catmall (1996)
 * Ray Dolby (1983)
 * Harold E. Edgerton (1959)
 * Fred Waller (1953)
 * Vladimir K. Zworykin (1950)
 * John G. Frayne (1947)
 * Walt Disney (1940)
 * Herbert Kalmus (1938)
 * Edward W. Kellogg (1937)
 * Kenneth Mees (1936)

David Sarnoff Gold Medal

 * Chuck Pagano (2013)
 * James M. DeFilippis (2012)
 * Bernard J. Lechner (1996)
 * Stanley N. Baron (1991)
 * William F. Schreiber (1990)
 * Adrian Ettlinger (1976)
 * Joseph A. Flaherty, Jr. (1974)
 * Peter C. Goldmark (1969)
 * W. R. G. Baker (1959)
 * Albert Rose (1958)
 * Charles Ginsburg (1957)
 * Robert E. Shelby (1956)
 * Arthur V. Loughren (1953)
 * Otto H. Schade (1951)

Eastman Kodak Gold Medal
The Eastman Kodak Gold Medal, instituted in 1967, recognizes outstanding contributions which lead to new or unique educational programs utilizing motion pictures, television, high-speed and instrumentation photography or other photography sciences. Recent recipients are

 * Andrew Laszlo (2006)
 * James MacKay (2005)
 * Dr. Roderick T. Ryan (2004)
 * George Spiro Dibie (2003)
 * Jean-Pierre Beauviala (2002)

Related organizations
Related organizations include
 * Advanced Television Systems Committee (ATSC)
 * Audio Engineering Society (AES)
 * BBC Research Department
 * Digital Video Broadcasting
 * European Broadcasting Union (EBU)
 * ITU Radiocommunication Sector (formerly known as the CCIR)
 * ITU Telecommunication Sector (formerly known as the CCITT)
 * Institute of Electrical and Electronics Engineers (IEEE)
 * Joint Photographic Experts Group (JPEG)
 * Moving Picture Experts Group (MPEG)


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The Bobby Fuller Four

The Bobby Fuller Four (sometimes stylized as Bobby Fuller 4) was a popular mid-1960s American rock & roll band started by Bobby Fuller. First formed in 1962 in Fuller's hometown of El Paso, Texas, the group went on to produce some of its most memorable hits under the Mustang Records label in Hollywood, California. The band's most successful songs include "Let Her Dance", "I Fought the Law" and "Love's Made a Fool of You".

History
Fuller recorded his first single, "You're in Love", in 1961. Recorded in his parents' living room with The Embers, a local band he played in, it became a regional hit. Fuller started a new band in 1962, backed by his brother Randy on bass and Gaylord Grimes on drums. They had their single, "Gently My Love", professionally recorded at Norman Petty Recording Studios in Clovis, New Mexico. Although they achieved another regional hit, Fuller was not satisfied.

Disengaging from Yucca Records in Alamogordo, which had released his first two records, Fuller and his band began releasing their records through Fuller's own various independent labels, with the recordings done in Fuller's home recording studio. The group never had a definite name and recordings were credited to either "Bobby Fuller", or "Bobby Fuller and the Fanatics". Various additional members played in the band, the most significant being Jim Reese (formerly of the Embers) on guitar, and Dalton Powell (who had played piano for the Embers) on drums.

By 1963, the band pursued a record deal with a major label in Hollywood, California. While they were neglected by most labels, Bob Keane of Del-Fi Records showed particular interest in the group. While he saw potential, he didn't think the band had hit material yet. Fuller and his band returned to El Paso and continued to release regional hits, the most popular being "I Fought the Law", originally by the Crickets. By the end of 1964, Fuller saw branching out to a major label as their only option, thus Bobby Fuller, Randy Fuller, and Jim Reese prepared to move to California to revisit Del-Fi Records. Current drummer Dalton Powell could not make the move due to family commitments, and was replaced by another drummer, DeWayne Quirico, instructed by Fuller in person.

The band appeared as "themselves" in the 1966 film "The Ghost in the Invisible Bikini"—a comedy combining the ubiquitous beach, horror, and biker themes of the day. They back Nancy Sinatra on the song "Geronimo" and perform "Make The Music Pretty" and other incidental music.

Del-Fi Records
With the group's new hit records, Keane signed them to Del-Fi this time around. The band's first Del-Fi release, "Those Memories of You" was under the sister label, Donna Records (credited to Bobby Fuller and the Fanatics). With the band's increasing local popularity, Keane created a sister label just for Fuller's band, Mustang Records. The first release on Mustang was "Thunder Reef" in 1965. This time, the band was credited as The Shindigs to capitalize on the new ABC show, Shindig! Seeking a more permanent name, Keane decided upon The Bobby Fuller Four (as he favored Fuller), which was first used on the band's next single, "Take My Word". The new name received mixed reactions with the rest of the group, claiming that it put too much emphasis on Fuller, as opposed to the rest of the band, but the name stuck.

While their next release, "Never to be Forgotten" brought a regional hit, the band's next single, "Let Her Dance" brought the band's first national hit, barely missing the Billboard Hot 100 at 133, though bringing in a Top 40 hit. At the suggestion of Randy Fuller, the El Paso hit, "I Fought the Law" was re-recorded. It quickly gained national popularity, and by 1966, it rose to its peak position at No. 9 on the national charts. Meanwhile, the band was starting to experience internal troubles after touring, and drummer DeWayne Quirico abruptly left the group. John Barbata was asked to take his place, while negotiations were underway to get Dalton Powell back in the band. While performing at L.A. venue "P.J." the band produced a memorable performance of "I fought the law" featuring the go-go dancer Lada St. Edmund into the NBC television show Hullaballoo, and also participated in another TV show, Shivaree.

With Powell reinstated, the group went on to release "Love's Made a Fool of You", another Crickets cover (written by Buddy Holly and Bob Montgomery and recorded by Holly as a demo, reportedly intended for the Everly Brothers, though never recorded by that duo). This went on to become another national hit for the band. The next single was taken from the sessions where Barbata sat in, "The Magic Touch". While being popular locally, it did not match the success of the previous singles. In addition to the already existing internal problems, the band began to fall apart in July after Reese had received a draft notice in the mail (and arranged to sell his Jaguar XKE to Fuller), Powell also planned to announce his plans to leave the band to support his family back home.

Aftermath
Bobby Fuller died under mysterious circumstances on July 18, 1966. His body was found beaten inside his car parked just outside of his Hollywood home. Evidence suggests that he had ingested gasoline. Initially, these details were not released to the public. Although many of his friends suspected he might have been murdered by mobsters, Fuller's death was officially ruled a suicide by police.

After the death of Fuller, the band abruptly disbanded. The group's final single, "It's Love, Come What May" was only released in limited quantities as a promotional recording. Months later, Keane arranged the formation of the Randy Fuller Four in an attempt to capitalize on the previous success of the Bobby Fuller Four, complete with Randy Fuller on bass and rhythm guitar, DeWayne Quirico returning on drums, and Mike Ciccarelli and Howard Steele (other former El Paso musicians) on lead guitar and bass, respectively. The group released a few singles (including overdubbing the Bobby Fuller Four's "It's Love, Come What May"), but disbanded less than a year later in 1967 without any chart success.

Most former members of the Bobby Fuller Four remained active in the music industry after the group disbanded. Jim Reese died in 1991 after suffering a fatal heart attack whilst playing a round of golf.

Bobby Fuller has been the subject of two books: I Fought The Law: The Life and Strange Death of Bobby Fuller by Miriam Linna & Randell Fuller (2015); and Rock & Roll Mustangs by Stephen J. McParland (2009 and with an updated edition released in 2021).

Singles
ATracks from the first Mustang album also featured on the follow-up album "I Fought the Law"

1 Singles released as by Bobby Fuller

2 Released as by Bobby Fuller and The Fanatics

3 Released as by The Shindigs

4 Released as by Randy Fuller, but actually recorded by The Bobby Fuller Four with Randy's vocals overdubbed on A-side

Original US albums

 * KRLA King of the Wheels (Mustang M-900 [mono] / MS-900 [stereo], 1965)
 * I Fought The Law (Mustang M-901 [mono] / MS-901 [stereo], 1966)
 * Celebrity Night At PJ's (cancelled — originally to be released as Mustang M-902 [mono] / MS-902 [stereo]; finally issued in the Never To Be Forgotten: The Mustang Years box set, 1997)

Compilations and reissues

 * The Bobby Fuller Memorial Album (LP, President 1003, 1968)
 * The Best of the Bobby Fuller Four (LP, Rhino RNDF-201, 1981)
 * KRLA King of the Wheels (LP, Line LP-5146, 1981)
 * I Fought the Law (LP, Line LP-5133, 1981)
 * The Bobby Fuller Memorial Album (LP, Strand 6.24885, 1982)
 * Let Them Dance (The Rare Sides) (LP, OutLine OLLP-5272, 1983)
 * Live on Stage (LP, OutLine OLLP-5302, 1983)
 * I Fought the Law (LP, Eva 12032, 1983)
 * Live Again (LP, Eva 12046, 1984)
 * The Best of The Bobby Fuller Four (CD, Rhino 70174, 1990)
 * The Bobby Fuller Four (CD, Ace CDCHD-956, 1990)
 * Live at PJ's...Plus! (CD, Ace CDCHD-314, 1991)
 * The Best of The Bobby Fuller Four (CD, Ace CDCHD-388, 1992)
 * The Bobby Fuller Four (CD, Del-Fi DFCD-70174, 1994)
 * Never to Be Forgotten: The Mustang Years (3-CD box set, Mustang/Del-Fi DFBX-3903, 1997)
 * The Mustang Years (2LP, Munster MR-184, 2000)
 * I Fought the Law and Others (7-inch EP, Munster 7141, 2000)
 * I Fought the Law: The Best of The Bobby Fuller Four (CD, Del-Fi/Rhino 71904, 2001)
 * I Fought the Law and Other Hits (CD, Flashback/Rhino 78170, 2004)
 * Rhino Hi-Five: The Bobby Fuller Four (CD, Rhino 7????, 2006)
 * Magic Touch: The Complete Mustang Singles Collection (CD, Now Sounds [UK] WCRNOW-57, 2018)

title: The Bobby Fuller Four