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Mack the Knife

"Mack the Knife" or "The Ballad of Mack the Knife" ("Die Moritat von Mackie Messer") is a song composed by Kurt Weill with lyrics by Bertolt Brecht for their 1928 music drama The Threepenny Opera (Die Dreigroschenoper). The song tells of a knife-wielding criminal of the London underworld from the musical named Macheath, the "Mack the Knife" of the title.

The song has become a popular standard recorded by many artists after it was recorded by Louis Armstrong in 1955 with translated lyrics by Marc Blitzstein. The most popular version of the song was by Bobby Darin in 1959, whose recording became a number one hit in the US and UK and earned him two Grammys at the 2nd Annual Grammy Awards. Ella Fitzgerald also received a Grammy for her performance of the song in 1961.

The original German lyrics and music of the song entered the public domain in the United States in 2024.

The Threepenny Opera
A Moritat is a medieval version of the murder ballad performed by strolling minstrels. In The Threepenny Opera, the Moritat singer with his street organ introduces and closes the drama with the tale of the deadly Mackie Messer, or Mack the Knife, a character based on the dashing highwayman Macheath in John Gay's The Beggar's Opera (who was in turn based on the historical thief Jack Sheppard). The Brecht-Weill version of the character was far more cruel and sinister whose crimes included rape and murder, and transforming him into a modern antihero.

The song was a last-minute addition that was inserted before its premiere in 1928 because Harald Paulsen, the actor who played Macheath, demanded that Brecht and Weill add another number that would more effectively introduce his character. However, Weill and Brecht decided the song should not be sung by Macheath himself, opting instead to write the song for a street singer in keeping with the Moritat tradition. At the premiere, the song was sung by Kurt Gerron, who played Police Chief Brown. Weill intended the Moritat to be accompanied by a barrel organ, which was to be played by the singer. At the premiere, though, the barrel organ failed, and the pit orchestra (a jazz band) had to quickly provide the accompaniment for the street singer.

The Moritat singer introduces the play, first comparing Macheath to a shark:

This is followed by tales of his crimes including a murder on the Strand, the disappearance of a wealthy man and theft of his money, a fatal stabbing of a woman, an arson that killed seven children in Soho, and the rape of a young widow.

The final stanza – not included in the original play, but added by Brecht for the 1931 film – expresses the theme and compares the glittering world of the rich and powerful with the dark world of the poor:

French translation
The song was translated into French as "La complainte de Mackie" by André Mauprey and Ninon Steinhoff and popularized by Catherine Sauvage.

1954 Blitzstein translation
The song was introduced to American audiences in 1933 in the first English-language production of The Threepenny Opera. The English lyrics were by Gifford Cochran and Jerrold Krimsky. That production, however, was not successful, closing after a run of only ten days. The best-known English translation of the song comes from Marc Blitzstein's 1954 version of The Threepenny Opera, which played Off-Broadway for over six years. The opening stanza reads: Oh, the shark has pretty teeth, dear, And he shows them pearly white Just a jack-knife has Macheath, dear And he keeps it out of sight

Blitzstein's version is a loose translation of the German lyrics; some lines on the crimes of Macheath have been omitted, and he included a verse not in the original, giving a list of female characters in the drama. The lyrics were further sanitized in the original Broadway cast recording (with Gerald Price as the ballad singer) with two stanzas on Macheath's assaults on women replaced. Blitzstein's translation provides the basis for most of the popular versions heard today, including those by Louis Armstrong (1955) and Bobby Darin (1959), and most subsequent swing versions. In Armstrong's recording, the name of Weill's widow, Lotte Lenya, who was the star of both the original 1928 German production and the 1954 Blitzstein Broadway version, was added to the lyrics ("Look out, Miss Lotte Lenya"). The Armstrong version was later used by Bobby Darin with slight adjustments.

1976 Manheim–Willett extension ("Moritat")
In 1976, a brand-new interpretation of "Mack the Knife" by Ralph Manheim and John Willett was used in the New York Shakespeare Festival's production of The Threepenny Opera, starring Raul Julia as Macheath. This version, simply known as "Moritat", is an extension of the story with completely new lyrics that expound upon the tales of Macheath's trail of activity. Here is an excerpt: See the shark with teeth like razors. All can read his open face. And Macheath has got a knife, but Not in such an obvious place.

This version was performed by Lyle Lovett on the soundtrack of the 1994 film Quiz Show. Darin's version plays over the opening credits and Lovett's over the closing credits. This interpretation was performed by Sting on Hal Willner's 1985 Weill tribute album Lost in the Stars and also recorded by Nick Cave in the late 1990s.

1994 translation
A much darker translation by Robert David MacDonald and Jeremy Sams into English was used for the 1994 Donmar Warehouse theatrical production in London. The new translation attempted to recapture the original tone of the song: Though the shark's teeth may be lethal Still you see them white and red But you won't see Mackie's flick knife Cause he slashed you and you're dead.

Louis Armstrong version
A number of early artists recorded the song, including the cast recording and a jazz version by Sidney Bechet, but it was Louis Armstrong who first introduced the vocal version of "Mack the Knife" to the United States hit parade. George Avakian, a producer at Columbia Records, whose wife Anahid Ajemian gave a recital of Weill's Violin Concerto in 1954, became interested in Weill's music, in particular the song from the off-Broadway production of Three Penny Opera that he had seen. He spent a few months trying to interest various jazz artists from his label to record "Mack the Knife", eventually persuading Turk Murphy to record. Murphy also suggested Armstrong to Avakian for the recording, and made an arrangement of the song for him.

Armstrong recorded an instrumental together with a vocal version on September 28, 1955, while Murphy also recorded both instrumental version and vocal versions himself as well as one in German with Lotte Lenya on September 22, 1955. The lyrics of Armstrong's version were based on the Broadway cast recording, but Avakian suggested changing Blitzstein's lyrics by using the word "drooping" instead of "dropping", as well as including the name of Lotte Lenya in the recording. Armstrong gave a shout-out in the song to Lenya who was invited to the recording session by Avakian. Lenya also joined Armstrong to record a duet version which was not released commercially. Armstrong's released version was spliced together from the instrumental recording and the vocal version.

The song titled "A Theme from The Threepenny Opera (Mack the Knife)" was released in late 1955 together with an instrumental version by Murphy, both by Columbia. The song, however, faced an initial ban on the song by radio stations for lyrics perceived as glorification of a criminal, although it sold well. Armstrong's recording reached Billboard's Top 100 chart in February 1956, peaking at No 20 on March 17, 1956. An instrumental version released by Dick Hyman charted higher. Armstrong's version also reached No. 8 in the UK.

In 1997, the 1955 recording of the song by Louis Armstrong & His All-Stars on Columbia Records was inducted into the Grammy Hall of Fame.

Armstrong's recording was inducted by the Library of Congress in the National Recording Registry in 2016.

Bobby Darin version
The song, however, is most closely associated with Bobby Darin, who recorded his version on December 19, 1958 for his album That's All. Darin had performed the song in his act before, and wanted to include the song in an album of standards. The song was arranged by Richard Wess. Musicians on the song included Don Lamond on drums, Milt Hinton on bass, and Doc Severinsen on trumpet. with Tom Dowd engineering the recording. Darin performed with the song lyrics similar to Armstrong's version with small changes, such as using the word "babe" instead of "dear', and he ended the song with a reprise of the sixth verse instead of the first. Darin recorded the song in around three takes, performing the song with an up-tempo bouncy beat and modulating up a semitone every verse starting with the third verse, from B-flat to B to C to D-flat to E-flat.

The song was released as a single in August 1959, even though Darin was reluctant to release the song as a single. The song reached number one on the Billboard Hot 100 and number six on the Black Singles Chart. It was listed as a Cash Box Top 100 number one single in 1959 for eight weeks. Dick Clark had advised Darin not to record the song because of the perception that, having come from an opera, it would not appeal to the rock and roll audience; he subsequently acknowledged his error.

Reception
Frank Sinatra, who recorded the song with Quincy Jones on his L.A. Is My Lady album, called Darin's the "definitive" version.

"Bobby Darin took the song by the scruff of the neck and turned it into the swing classic widely known today. Unlike the Brecht-Weill original, which remains in the same key throughout, Darin's version changes key, chromatically, no fewer than five times, ratcheting up the tension. – Financial Times"

Billboard ranked this version as the No. 2 song for 1959. In 2003, the Darin version was ranked No. 251 on Rolling Stone's "500 Greatest Songs of All Time" list. Darin's version of the song was featured in the films Quiz Show and What Women Want.

The song earned Darin two Grammy Awards in 1959, for Record of the Year and first ever Best New Artist. Darin's version was also inducted by the Library of Congress in the National Recording Registry at the same time as Armstrong's in 2016. It was ranked as No. 15 in the list of Songs of the Century by the Recording Industry of America and the National Endowment for the Arts.

In 1999, the 1959 release of the song by Bobby Darin on the Atco Records label was inducted into the Grammy Hall of Fame.

Ella Fitzgerald version
On February 13, 1960, Ella Fitzgerald performed the song live for the first time in a concert at Deutschlandhalle in Berlin. Fitzgerald, however, forgot the lyrics after the first stanza, and she improvised new lyrics, including name-checking Louis Armstrong and Bobby Darin. The song was included on the album Ella in Berlin: Mack the Knife released in July.

The song was released as a single in April 1960. This version made the US Hot 100, peaking at No. 27 in June 1960. This song was Fitzgerald's best performing song in the 1960s, and she included the song in all her subsequent shows.

The performance earned Fitzgerald a Grammy Award for Best Female Pop Vocal Performance at the 3rd Annual Grammy Awards.

Instrumental versions
An instrumental version of "Mack the Knife" titled "Moritat – A Theme From "The Three Penny Opera"" was recorded by Dick Hyman, and it performed better than Louis Armstrong's vocal version that charted around the same time, reaching No. 9 on Billboard's Top 100. It also reached No. 9 on the Cashbox chart, as well as No. 9 on the UK chart in 1956. A number of other instrumental versions also appeared on The Top 100 at the same time: Richard Hayman and Jan August (No. 12), Lawrence Welk (No. 31), Billy Vaughn (No. 37), and Les Paul and Mary Ford (No.49). Billy Vaughn also reached No. 12 in the UK.

Jazz saxophonist Sonny Rollins recorded an instrumental version entitled simply "Moritat" for his album Saxophone Colossus recorded in 1956. A 1959 instrumental performance by Bill Haley & His Comets was the final song the group recorded for Decca Records. Ray Conniff recorded a version for orchestra and chorus in 1962 for the album, The Happy Beat. Liberace performed the song in five styles: as originally written, in the style of the "Blue Danube Waltz", as a music box, in a bossa nova rhythm, and in boogie-woogie.

Other versions
Frank Sinatra added the song to his repertoire in 1984 in an arrangement by Frank Foster; In the performance included in his album L.A. Is My Lady, Sinatra similarly name-checked Armstrong and Darin, as well as adding members of his backing band. Sinatra and Jimmy Buffett recorded a duet of the song for Sinatra's final album Duets II (1994).

Nick Cave and Spanish Fly performed the song for the video September Songs – The Music of Kurt Weill in 1994, released as an album in 1997. while Sting and Dominic Muldowney recorded it for the 1985 tribute album Lost in the Stars: The Music of Kurt Weill.

Other notable versions include performances by Mark Lanegan, Dave Van Ronk, Jimmie Dale Gilmore, Tony Bennett, Anita O'Day (in an arrangement by Jimmy Giuffre), Marianne Faithfull, Brian Setzer, Dr. John, Ute Lemper, King Kurt, Bing Crosby, The Psychedelic Furs, David Cassidy (in At the Copa), Westlife, The Doors, and Michael Bublé. Swiss band The Young Gods radically reworked the song in industrial style on their 1991 album The Young Gods Play Kurt Weill as "Mackie Messer", Deana Martin recorded "Mack the Knife" on her second studio album, Volare, released in 2009 by Big Fish Records. Robbie Williams recorded the song on his 2001 album Swing When You're Winning. Hildegard Knef recorded a German version, "Mackie Messer".

Salsa musician Rubén Blades recorded an homage entitled "Pedro Navaja" (Razor Pete). Brazilian composer Chico Buarque, in his loose adaptation of Threepenny Opera (Ópera do Malandro), made two versions called "O Malandro" and "O Malandro No. 2", with lyrics in Portuguese.

title: Mack the Knife


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VCard

vCard, also known as VCF (Virtual Contact File), is a file format standard for electronic business cards. vCards can be attached to e-mail messages, sent via Multimedia Messaging Service (MMS), on the World Wide Web, instant messaging, NFC or through QR code. They can contain name and address information, phone numbers, e-mail addresses, URLs, logos, photographs, and audio clips.

vCard is used as a data interchange format in smartphone contacts, personal digital assistants (PDAs), personal information managers (PIMs) and customer relationship management systems (CRMs). To accomplish these data interchange applications, other "vCard variants" have been used and proposed as "variant standards", each for its specific niche: XML representation, JSON representation, or web pages.

Overview
The standard Internet media type (MIME type) for a vCard has varied with each version of the specification.

vCards can be embedded in web pages.

RDFa with the vCard Ontology can be used in HTML and various XML-family languages, e.g. SVG, MathML.

Related formats
jCard, "The JSON Format for vCard" is a standard proposal of 2014 in. This proposal has not yet become a widely used standard. The RFC 7095 does not use real JSON objects, but rather uses arrays of sequence-dependent tag–value pairs (like an XML file).

hCard is a microformat that allows a vCard to be embedded inside an HTML page. It makes use of CSS class names to identify each vCard property. Normal HTML markup and CSS styling can be used alongside the hCard class names without affecting the webpage's ability to be parsed by a hCard parser. h-card is the microformats2 update to hCard.

MeCard is a variation of vCard made by NTT DoCoMo for smartphones using QR codes. It uses a very similar syntax, but in a more consolidated way as the storage space on QR codes is limited. It's also limited in the amount of data that can be stored, not just by the standard but the size of QR codes.

Example
An example of a simple vCard (from RFC 6350 of August, 2011, abbreviated):

BEGIN:VCARD VERSION:4.0 FN:Simon Perreault N:Perreault;Simon;;;ing. jr,M.Sc. BDAY:--0203 GENDER:M EMAIL;TYPE=work:simon.perreault@viagenie.ca END:VCARD

This is the vCard for "Simon Perreault" (the author of RFC 6350), with his birthday (omitting the year), email address and gender.

Properties
vCard defines the following property types.

All vCards begin with  and end with. All vCards must contain the  property, which specifies the vCard version. must come immediately after, except in the vCard 2.1 and 3.0 standards, which allows it to be anywhere in the vCard. Otherwise, properties can be defined in any order.

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

title: VCard


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Michel Tournier

Michel Tournier (19 December 1924 − 18 January 2016) was a French writer. He won awards such as the Grand Prix du roman de l'Académie française in 1967 for Friday, or, The Other Island and the Prix Goncourt for The Erl-King in 1970. His inspirations included traditional German culture, Catholicism and the philosophies of Gaston Bachelard. He resided in Choisel and was a member of the Académie Goncourt. His autobiography has been translated and published as The Wind Spirit (Beacon Press, 1988). He was on occasion in contention for the Nobel Prize in Literature.

Biography
Born in France of parents who met at the Sorbonne while studying German, Tournier spent his youth in Saint-Germain-en-Laye. He learned German early, staying each summer in Germany. He studied philosophy at the Sorbonne and at the university of Tübingen and attended Maurice de Gandillac's course. He wished to teach philosophy at high-school but, like his father, failed to obtain the French agrégation.

Tournier joined Radio France as a journalist and translator and hosted L'heure de la culture française. In 1954 he worked in advertisement for Europe 1. He also collaborated for Le Monde and Le Figaro. From 1958 to 1968, Tournier was the chief editor of Plon. In 1967 Tournier published his first book, Vendredi ou les Limbes du Pacifique, a retelling of Daniel Defoe's Robinson Crusoe, for which he was awarded the Grand Prix du roman de l'Académie française.

He co-founded in 1970, with the Arles photographer Lucien Clergue and the historian Jean-Maurice Rouquette, the Rencontres d'Arles. At the same time he produced for television some fifty issues of the monthly program Chambre noire, devoted to photography interviewing a photographer for each program.

Tournier died on 18 January 2016 in Choisel, France at the age of 91.

Selected works

 * Vendredi ou les Limbes du Pacifique (Friday) (1967) - Grand Prix du roman de l'Académie française
 * Le Roi des aulnes (1970) (The Erl-King translated 1972 by Barbara Bray, a.k.a. The Ogre)
 * Le Roi des aulnes was made into a 1996 movie Der Unhold (The Ogre) directed by Volker Schlöndorff and has also been adapted for the stage by Tom Perrin in 2002.
 * Les Météores (Gemini, 1975)
 * Le Vent Paraclet (The Wind Spirit, 1977)
 * Vendredi ou la Vie sauvage (Friday and Robinson, 1972)
 * Le Coq de bruyère (The Fetishist and Other Stories, 1978)
 * Gaspard, Melchior et Balthazar (The Four Wise Men, 1980)
 * Le Vol du vampire (1981)
 * Gilles et Jeanne (Gilles and Jeanne, 1983)
 * La Goutte d'or (The Golden Droplet, 1986)
 * Petites Proses (1986)
 * Le Médianoche amoureux (The Midnight Love Feast, 1989)
 * La Couleuvrine (1994)
 * Le Miroir des idées (The Mirror of Ideas, 1994)
 * Eléazar ou la Source et le Buisson (Eleazar, Exodus to the West, 1996)
 * Journal extime (2002)

title: Michel Tournier


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Ranma Saotome

Ranma Saotome (早乙女 乱馬) is a fictional character and the titular protagonist of the manga series Ranma ½, created by Rumiko Takahashi. Ranma is a Japanese teenage boy who has trained in martial arts since early childhood. As a result of falling into an enchanted spring during a training journey in China, he is cursed to transform into a girl when splashed with cold water, while hot water changes him back into a boy. Throughout the series, Ranma seeks out a way to rid himself of the curse, while his friends, enemies, rivals, and many fiancées constantly hinder and interfere.

Creation and conception
Because most of her previous series had female protagonists, Rumiko Takahashi decided that she wanted a male for Ranma ½. However, she was worried about writing a male main character in a magazine targeted toward male readers, and therefore decided to make him half-female. In 1993, an Animerica interviewer asked Takahashi if she intended the sex-changing theme "as an effort to enlighten a male-dominated society." The author said that she does not think in terms of societal agendas and that she created the Ranma ½ concept from wanting "a simple, fun idea." She considered Ranma changing every time he was punched, before deciding on water for initiating his changes after thinking of noren at sentō and making the hot and cold water connection.

Takahashi said she gave the character's name a lot of thought; because the series deals with "a lot of entangled elements in an effective way" she named him Ranma taken from the proverb kaitō ranma wo tatsu (快刀乱麻を断つ), which can roughly be translated into English as "tackling plenty of tasks diligently." However, when asked how she came up with it in another interview years later, Takahashi simply said she thought it would be a cute name for either a boy or girl. Male Ranma's name is written using kanji, while Female Ranma's name is written in hiragana as らんま. The manga artist gave Ranma a pigtail to make the character easy to identify regardless of whether he was in his male or female form. Because a pigtail pairs well with Chinese clothes, she then decided to make him a martial artist.

Takahashi said that Ranma's personality ended up different from how she initially intended; "I originally intended for him to be a clean-cut, incredibly energetic kid who was into fighting. But, he became somewhat indecisive and picky." She speculated that, since everyone has those kinds of sentiments, these were her own feelings subconsciously reflected in her character. When Takahashi was asked if there was a connection between the characters Ryunosuke Fujinami and her father from her previous manga Urusei Yatsura and the characters of Ranma and his father Genma, the author said "Perhaps there is something in their relationship, that has crossed over to the relationship between Ranma and Genma. I think that could be true." In 1994, Takahashi said she was planning to have Ranma and Akane Tendo end up together at the end of Ranma ½.

Takahashi sat in on the voice actor auditions for the anime adaptation and, when both male and female Ranma were going to be voiced by the same actor, she insisted that they be voiced by different actors whose gender corresponded to that of the part. In Japanese, Ranma's male form is voiced by Kappei Yamaguchi and his female form by Megumi Hayashibara. The character was Yamaguchi's debut voice acting role. Hayashibara actually auditioned to play Akane Tendo, but was chosen to be the female half of Ranma instead. In English, male Ranma was voiced by Sarah Strange in the OVAs, films and first 64 episodes of the TV anime, before Richard Ian Cox took over the role. The female version of Ranma was voiced in English by Brigitta Dau for only six episodes before she was replaced by Venus Terzo. In the live-action TV film adaptation, male Ranma is portrayed by Kento Kaku and female Ranma by Natsuna Watanabe.

Appearances
16-year-old Ranma Saotome has been trained in martial arts by his father Genma since childhood, namely in the Musabetsu Kakutō Ryū (無差別格闘流) or "Anything-Goes" style. When Ranma was a toddler, Genma took him from home and set out on their journey, vowing to his wife that he would make their son a "true man among men." As such Ranma does not even remember his mother. While training in the Bayankala Mountain Range in the Qinghai Province of China, Ranma and Genma fell into cursed springs at Jusenkyo. When someone falls into a cursed spring, they take the physical form of whatever drowned there thousands of years ago whenever they come into contact with cold water. The curse will revert when exposed to hot water until their next cold water exposure. Ranma fell into the spring of a drowned girl, while Genma fell into the spring of a drowned panda bear.

Two weeks after the accident, they move in with Genma's old friend Soun Tendo at his Nerima, Tokyo home, with the expectation that one of his three daughters will marry Ranma. The eldest Kasumi and middle sibling Nabiki force their little sister Akane to accept the betrothal. Akane and Ranma instantly dislike each other due to Akane's mistrust of boys and Ranma's derision of her, but they drift closer throughout the series, each going to great lengths to save the other when in trouble. Ranma enrolls in Furinkan High School where he meets Tatewaki Kuno, the arrogant captain of the kendo club who is in love with Akane and who also falls in love with Ranma's female form, never realizing that she and male Ranma are the same person. Additionally, Kuno's younger sister, the gymnast Kodachi, soon develops a crush on the male Ranma.

Ranma's childhood rival, the perpetually lost Ryoga Hibiki, finds his way to Nerima seeking revenge on him as he is cursed to turn into a small black piglet after falling in a cursed spring when he followed Ranma to China. Ryoga comes to also see Ranma as a rival in love, as he develops a crush on Akane. When Ranma was in China, he defeated Chinese Amazon Shampoo in combat while in his female form. Shampoo's local custom dictates that female warriors kill the woman that defeats them, as such she tracks Ranma to Nerima. However, she is then defeated by Ranma again in his male form, and Chinese Amazon custom demands that female warriors marry the man that defeats them, as such Shampoo pursues male Ranma as her fiancé.

Ukyo Kuonji, an okonomiyaki chef and Ranma's childhood friend, also appears in town seeking revenge. While on a training journey with a young Ranma, Genma agreed to have his son marry Ukyo in an arranged marriage with her family's okonomiyaki cart acting as the dowry, but he took the cart and left Ukyo behind. For the next ten years Ukyo rejected her femininity and trained to get revenge on the Saotomes. As children, Ranma did not know that Ukyo was female and when he finds out he calls her "cute," which causes Ukyo to forgive the past and treat Ranma as her fiancé.

Although Ranma despises his sex-changing curse, he is not beyond using it to his advantage. In order to interfere on Ryoga's date with Akane, Ranma tricks his gullible rival into thinking his female form is the younger sister Ryoga never knew, Yoiko. When Ranma's mother Nodoka comes to town and Ranma learns that his father promised her that he and his son would commit suicide via seppuku if he failed to raise Ranma into a "true man among men," Ranma passes himself off as Ranko, Akane's tomboy cousin, while Genma pretends to be Ranko's pet panda. When Nodoka finally does learn that "Ranko" is Ranma, she waives demanding seppuku and remarks that even as Ranko her son acted "manly." However, she does grab her katana whenever she sees him doing something that could be misunderstood as feminine.

Reception
In both 1990 and 1991, Ranma came in second place in Animage's annual Anime Grand Prix for Favorite Male Character and fourth in its Favorite Female Character category. Male Ranma dropped one spot to third place in 1992, while female Ranma fell to seventh. Male Ranma regained second place in 1993, but his female form fell to 12th. In 1994, Ranma came in 15th place in the male category. A 2019 NHK poll of 210,061 people saw Ranma voted the fifth favorite character from all of Rumiko Takahashi's works. In a poll conducted by goo, fans voted female Ranma their third favorite anime role performed by Megumi Hayashibara. With 18.1% of the vote, female Ranma came in first in a goo poll of 250 men and 250 women on "cute redhead girl" anime characters. Anime News Network's Gia Manry listed Ranma's engagement to Shampoo as the third Most Awkward Proposal in anime.

Rebecca Silverman of Anime News Network called Ranma the "least formed" character of the series as of the first two volumes of the manga. She wrote that "at first he feels badly about his affliction [and] how it affects others, but by the middle of the book he's started using it to his advantage, and really, it's hard to blame him there." and noted that Ranma clearly likes Akane much more than she likes him. Her colleague Theron Martin wrote that Ranma and Akane are "firmly anchored in the territory of clearly caring about each other even though they do not want to admit it." Todd Douglass Jr. of DVD Talk wrote that seeing their developing relationship is one of the initial hooks of the anime and is truly entertaining. The Fandom Post's Kory Cerjak called the "not-so-relationship" a constant form of entertainment due to "how they interact when they’re hating each other and when they’re being smitten." Commenting on how many people feel the ending of Ranma ½ does not resolve anything, Jason Thompson wrote that "expecting to see Ranma marry Akane is like expecting to see Uncle Scrooge marry Glitterin' Goldie or Archie marry Veronica [...] it just doesn't happen."

Martin called Venus Terzo's English performance as female Ranma a vast improvement over Brigitta Dau's and said it elevates the rest of the dub to an overall acceptable level. He wrote that the change was supposedly done due to fan complaints, which he called "entirely believable" given how "grating" Dau's performance is. Martin wrote that the English voice actor change from Sarah Strange as male Ranma to Richard Ian Cox takes some time to get used to due to how substantially it alters Ranma's voice and delivery.

title: Ranma Saotome


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Color of chemicals

The color of chemicals is a physical property of chemicals that in most cases comes from the excitation of electrons due to an absorption of energy performed by the chemical.

The study of chemical structure by means of energy absorption and release is generally referred to as spectroscopy.

Theory
All atoms and molecules are capable of absorbing and releasing energy in the form of photons, accompanied by a change of quantum state. The amount of energy absorbed or released is the difference between the energies of the two quantum states. There are various types of quantum state, including, for example, the rotational and vibrational states of a molecule. However the release of energy visible to the human eye, commonly referred to as visible light, spans the wavelengths approximately 380 nm to 760 nm, depending on the individual, and photons in this range usually accompany a change in atomic or molecular orbital quantum state. The perception of light is governed by three types of color receptors in the eye, which are sensitive to different ranges of wavelength within this band.

The relationship between energy and wavelength is determined by the Planck-Einstein relation
 * $$E = hf = \frac{hc}{\lambda}$$

where E is the energy of the quantum (photon), f is the frequency of the light wave, h is the Planck constant, λ is the wavelength and c is the speed of light.

The relationships between the energies of the various quantum states are treated by atomic orbital, molecular orbital, Ligand Field Theory and Crystal Field Theory. If photons of a particular wavelength are absorbed by matter, then when we observe light reflected from or transmitted through that matter, what we see is the complementary color, made up of the other visible wavelengths remaining. For example, beta-carotene has maximum absorption at 454 nm (blue light), consequently what visible light remains appears orange.

Colors by wavelength
What is seen by the eye is not the color absorbed, but the complementary color from the removal of the absorbed wavelengths. This spectral perspective was first noted in atomic spectroscopy.

Below is a rough table of wavelengths, colors and complementary colors. This utilizes the scientific CMY and RGB color wheels rather than the traditional RYB color wheel. This can only be used as a very rough guide, for instance if a narrow range of wavelengths within the band $647 nm$ is absorbed, then the blue and green receptors will be fully stimulated, making cyan, and the red receptor will be partially stimulated, diluting the cyan to a greyish hue.

By category
The vast majority of simple inorganic (e.g. sodium chloride) and organic compounds (e.g. ethanol) are colorless. Transition metal compounds are often colored because of transitions of electrons between d-orbitals of different energy. (see Transition metal). Organic compounds tend to be colored when there is extensive conjugation, causing the energy gap between the HOMO and LUMO to decrease, bringing the absorption band from the UV to the visible region. Similarly, color is due to the energy absorbed by the compound, when an electron transitions from the HOMO to the LUMO. Lycopene is a classic example of a compound with extensive conjugation (11 conjugated double bonds), giving rise to an intense red color (lycopene is responsible for the color of tomatoes). Charge-transfer complexes tend to have very intense colors for different reasons.

Examples
It is important to note, however, that elemental colors will vary depending on what they are complexed with, often as well as their chemical state. An example with vanadium(III); VCl3 has a distinctive reddish hue, whilst V2O3 appears black.

Salts
Predicting the color of a compound can be extremely complicated. Some examples include:
 * Cobalt chloride is pink or blue depending on the state of hydration (blue dry, pink with water) so it is used as a moisture indicator in silica gel.
 * Zinc oxide is white, but at higher temperatures becomes yellow, returning to white as it cools.

Bead tests
A variety of colors, often similar to the colors found in a flame test, are produced in a bead test, which is a qualitative test for determining metals. A platinum loop is moistened and dipped in a fine powder of the substance in question and borax. The loop with the adhered powders is then heated in a flame until it fuses and the color of the resulting bead observed.

title: Color of chemicals


text:
Rhombicosidodecahedron

In geometry, the rhombicosidodecahedron is an Archimedean solid, one of thirteen convex isogonal nonprismatic solids constructed of two or more types of regular polygon faces.

It has 20 regular triangular faces, 30 square faces, 12 regular pentagonal faces, 60 vertices, and 120 edges.

Names
Johannes Kepler in Harmonices Mundi (1618) named this polyhedron a rhombicosidodecahedron, being short for truncated icosidodecahedral rhombus, with icosidodecahedral rhombus being his name for a rhombic triacontahedron. There are different truncations of a rhombic triacontahedron into a topological rhombicosidodecahedron: Prominently its rectification (left), the one that creates the uniform solid (center), and the rectification of the dual icosidodecahedron (right), which is the core of the dual compound.

Dimensions
For a rhombicosidodecahedron with edge length a, its surface area and volume are:

 * $$\begin{align} A &= \left(30+5\sqrt{3}+3\sqrt{25+10\sqrt{5}}\right)a^2 &&\approx 59.305\,982\,844\,9 a^2 \\ V &=\frac{60+29\sqrt{5}}{3}a^3 &&\approx 41.615\,323\,782\,5 a^3 \end{align}$$

Geometric relations
If you expand an icosidodecahedron by moving the faces away from the origin the right amount, without changing the orientation or size of the faces, and patch the square holes in the result, you get a rhombicosidodecahedron. Therefore, it has the same number of triangles as an icosahedron and the same number of pentagons as a dodecahedron, with a square for each edge of either.

Alternatively, if you expand each of five cubes by moving the faces away from the origin the right amount and rotating each of the five 72° around so they are equidistant from each other, without changing the orientation or size of the faces, and patch the pentagonal and triangular holes in the result, you get a rhombicosidodecahedron. Therefore, it has the same number of squares as five cubes.

Two clusters of faces of the bilunabirotunda, the lunes (each lune featuring two triangles adjacent to opposite sides of one square), can be aligned with a congruent patch of faces on the rhombicosidodecahedron. If two bilunabirotundae are aligned this way on opposite sides of the rhombicosidodecahedron, then a cube can be put between the bilunabirotundae at the very center of the rhombicosidodecahedron.

The rhombicosidodecahedron shares the vertex arrangement with the small stellated truncated dodecahedron, and with the uniform compounds of six or twelve pentagrammic prisms.

The Zometool kits for making geodesic domes and other polyhedra use slotted balls as connectors. The balls are "expanded" rhombicosidodecahedra, with the squares replaced by rectangles. The expansion is chosen so that the resulting rectangles are golden rectangles.

Twelve of the 92 Johnson solids are derived from the rhombicosidodecahedron, four of them by rotation of one or more pentagonal cupolae: the gyrate, parabigyrate, metabigyrate, and trigyrate rhombicosidodecahedron. Eight more can be constructed by removing up to three cupolae, sometimes also rotating one or more of the other cupolae.

Cartesian coordinates
Cartesian coordinates for the vertices of a rhombicosidodecahedron with an edge length of 2 centered at the origin are all even permutations of:
 * (±1, ±1, ±φ3),
 * (±φ2, ±φ, ±2φ),
 * (±(2+φ), 0, ±φ2),

where φ = $1 + √5⁄2$ is the golden ratio. Therefore, the circumradius of this rhombicosidodecahedron is the common distance of these points from the origin, namely √φ6+2 = √8φ+7 for edge length 2. For unit edge length, R must be halved, giving
 * R = $√8φ+7⁄2$ = $√11+4√5⁄2$ ≈ 2.233.

Orthogonal projections
The rhombicosidodecahedron has six special orthogonal projections, centered, on a vertex, on two types of edges, and three types of faces: triangles, squares, and pentagons. The last two correspond to the A2 and H2 Coxeter planes.

Spherical tiling
The rhombicosidodecahedron can also be represented as a spherical tiling, and projected onto the plane via a stereographic projection. This projection is conformal, preserving angles but not areas or lengths. Straight lines on the sphere are projected as circular arcs on the plane.

Symmetry mutations
This polyhedron is topologically related as a part of a sequence of cantellated polyhedra with vertex figure (3.4.n.4), which continues as tilings of the hyperbolic plane. These vertex-transitive figures have (*n32) reflectional symmetry.

Johnson solids
There are 12 related Johnson solids, 5 by diminishment, and 8 including gyrations:

Vertex arrangement
The rhombicosidodecahedron shares its vertex arrangement with three nonconvex uniform polyhedra: the small stellated truncated dodecahedron, the small dodecicosidodecahedron (having the triangular and pentagonal faces in common), and the small rhombidodecahedron (having the square faces in common).

It also shares its vertex arrangement with the uniform compounds of six or twelve pentagrammic prisms.

Rhombicosidodecahedral graph
In the mathematical field of graph theory, a rhombicosidodecahedral graph is the graph of vertices and edges of the rhombicosidodecahedron, one of the Archimedean solids. It has 60 vertices and 120 edges, and is a quartic graph Archimedean graph.

title: Rhombicosidodecahedron


text:
LTU International

LTU International Airways, usually shortened to LTU and legally incorporated as LTU Lufttransport-Unternehmen GmbH, was a German leisure airline headquartered in Düsseldorf. It operated medium and long-haul routes and maintained hubs in Düsseldorf, Munich and at Tegel Airport in Berlin. LTU was acquired by Air Berlin in 2007. Use of the LTU brand ceased in 2009, and LTU itself was dissolved by April 2011.

Early years
LTU was established in May 1955 as Lufttransport Union and started operations in Frankfurt. In 1956 it began operating charter flights. The initials LTU stand for the German phrase LuftTransport-Unternehmen which translates to "air transport enterprise". LTU had been headquartered in Düsseldorf since 1961. Over the years, LTU became one of the biggest and most renowned German leisure airlines and operated worldwide charter flights from many German airports, but mainly from its traditional main hub at Düsseldorf.

In 1983, a new subsidiary based in Munich called LTS was founded, which had a similar livery, using blue instead of red. It was rebranded LTU Süd in 1987 and got a new livery closer to LTU's red livery. In 1998 LTU Süd was dissolved and completely incorporated into LTU. LTU also operated sister companies in Spain (LTE, 1987 - 2001) and Austria (LTU Austria, 2004 - 2008). Its traditional red and white livery barely changed over the years, becoming a recognizable trademark in the German charter flight business.

LTU was featured in the 1983 music video for the Wham! song Club Tropicana featuring George Michael and Andrew Ridgeley as air crew members on holiday in Ibiza.

In 1991, LTU acquired four new McDonnell Douglas MD-11 becoming the first and only German passenger operator. They handed them over to Swissair in 1998.

By March 2007 the airline's owners were Intro Verwaltungsgesellschaft (55%) and Marbach Beteiligung und Consulting (45%) and had 2,892 employees.

Purchase by Air Berlin
In March 2007, Air Berlin bought LTU for €140 million in cash, creating the fourth-largest airline group in Europe in terms of traffic. Combined, the airlines carried 22.1 million passengers in 2006. The purchase was aimed at adding long-haul operations and increasing market share at Düsseldorf Airport. LTU initially retained its name on its leisure routes, while routes to the United States and China immediately switched to Air Berlin branding.

In May 2007, LTU presented its new livery. It maintained the traditional red and white corporate colors, but refreshed the overall appearance with smoother lines and overall more white. The new design was first applied to LTU's then new twelfth long-haul aircraft, an Airbus A330-200. This livery was later adapted to become the new Air Berlin design.

On 1 May 2007, LTU operated the first Arctic & North Pole sightseeing flight from continental Europe in aviation history, a charter flight for Deutsche Polarflug. The flight took 12h 55m and the aircraft, an A330-200 took 283 passengers from Düsseldorf via Norway, Svalbard, to The North Pole, eastern Greenland and Iceland back to Düsseldorf. The flight was filmed for an episode of PilotsEYE.tv.

LTU opened a third long-haul base at Berlin Tegel Airport in October 2007, basing a single Airbus A330-200 there to operate flights to Bangkok, Punta Cana and Varadero.

Cessation
Air Berlin announced in 2008 that the trademark LTU would no longer be used. All flights were rebranded as Air Berlin. The last known flight under LTU callsign, but already in Air Berlin livery, was on 13 October 2009 from Montreal to Düsseldorf. As of April 2011, the LTU's AOC had expired and the company itself was dissolved. On 27 October 2017, Air Berlin itself ceased operations.

Fleet
During its existence, LTU operated the following aircraft, including the fleet incorporated into Air Berlin by March 2007:

title: LTU International


text:
Pushout

A pushout is a student who leaves their school before graduation, through the encouragement of the school. A student who leaves of their own accord (e.g., to work or care for a child), rather than through the action of the school, is considered a school dropout. In typical use, the category of pushouts excludes students who have been formally expelled from school for violating rules (e.g., for being violent).

Students may be pushed out of school because their presence in the school creates difficulty in meeting some goal of the school. For example, in the case where funding for the school is dependent upon scholastic achievement of the students, if the school can get rid of low-performing students, average test scores on academic performance tests will go up, thus increasing funding. Schools may pushout truant students, who formally enroll in classes, but then refuse to attend.

In some low-performing schools in Chicago combined dropout/pushout rates have exceeded 25% in one year.

Adolescents are also pushed from schools because they present discipline problems. Within youth advocacy and activist communities, pushout is a term that recognizes the intersecting forces of oppression most commonly responsible for high school "drop outs" within marginalized communities of color, allowing for the responsibility to be placed on those forces, rather than the youth impacted by unequal education, economics, disciplinary actions, and racism.

title: Pushout


text:
List of Zambians

This is a list of famous or notable Zambians, or people of Zambian descent, or people who have influenced Zambia listed in the following categories, and in no particular order:

Businesspeople

 * Geoffrey Bwalya Mwamba
 * Saviour Chibiya
 * Hakainde Hichilema
 * Rajan Mahtani
 * Sylvia Masebo
 * Clever Mpoha
 * Susan Mulikita

Presidents

 * Kenneth David Kaunda – President – 1964–1991
 * Frederick Titus Jacob Chiluba – President – 1991–2001
 * Levy Patrick Mwanawasa – President – 2001–2008
 * Rupiah Bwezani Banda – President – 2008–2011
 * Michael Chilufya Sata – President – 2011–2014
 * Dr. Guy Scott – Acting President – October 2014–January 2015
 * Edgar Lungu – President – 2015–2021
 * Hakainde Hichilema – President – 2021–Current

Vice presidents
(post abolished thereafter and reintroduced in 1991)
 * Reuben Chitandika Kamanga – Vice President – 1964–1967
 * Simon Kapwepwe – Vice President – 1967–1970
 * Mainza Mathias Chona – Vice President – 1970–1973
 * Levy Patrick Mwanawasa – Vice President – 1991–1994
 * Godfrey Miyanda – Vice President – 1994–1997
 * Christon Tembo – Vice President – 1997–2001
 * Enoch P. Kavindele – Vice President – 2001–2003
 * Nevers Mumba – Vice President – 2003–2004
 * Lupando Katoloshi Mwape – Vice President – 2004–2006
 * Rupiah Bwezani Banda – Vice President – 2006–2008
 * George Kunda – Vice President – 2008–2011
 * Dr. Guy Scott – Vice President – 2011–2014
 * Inonge Wina – Vice President – 2015–2021
 * Mutale Nalumango – Vice President – 2021–Current

Prime ministers

 * Mainza Chona – Prime Minister, 1973–1975, 1977–1978
 * Elijah Mudenda – Prime Minister, 1975–1977
 * Daniel Lisulo – Prime Minister, 1978–1981
 * Nalumino Mundia – Prime Minister, 1981–1985
 * Kebby Musokotwane – Prime Minister, 1985–1989, Secretary-General, UNIP 1989–1991, Opposition President, 1992
 * Malimba Masheke – Prime Minister, 1989–1991 (post abolished thereafter)

Others

 * Akashambatwa Mbikusita-Lewanika – former minister/democratic campaigner
 * Anderson Mazoka – former opposition leader (1998–2006)
 * Austin Liato – former minister/labour leader, former Pan-African Parliament MP
 * Besa Mumba – youngest female commercial pilot
 * Besnat Jere – former Pan-African Parliament MP
 * Chibesa Kankasa – Zambian freedom fighter and politician
 * Crispin Shumina – former MP, former Pan-African Parliament MP
 * Dickson Jere – former Special Assistant to the President for Press and Public Relations, under Rupiah Banda
 * Edward Makuka Nkoloso – former director of Zambia National Academy of Science, Space Research and Philosophy
 * Elias Chipimo Jnr – retired opposition leader
 * Gladys Nyirongo – former Lands Minister
 * Hakainde Hichilema – opposition leader (2006–2021 (Became president))
 * Inonge Mbikusita-Lewanika – diplomat, former UNICEF Regional Adviser for Africa, Presidential Candidate (2001)
 * Kabinga Pande – former Foreign Affairs Minister
 * Kalombo Mwansa – former Foreign Affairs Minister
 * Luke Mwananshiku – former Finance Minister
 * M. K. Mubanga – former Pan-African Parliament MP
 * Mundia Sikatana – former Justice Minister
 * Ompie Nkumbula-Lieventhal – former MP, former Pan-African Parliament MP
 * Patrick Anthony Mwewa Chikusu – Deputy Minister of Health in the Republic of Zambia
 * Peter Daka – Minister of science and technology, former Pan-African Parliament MP
 * Ronnie Shikapwasha – former Information Minister
 * Susan Nakazwe – former Mayor of Lusaka
 * Thokozile Muwamba – first female fighter pilot

Traditional rulers

 * Chieftainships are listed here. These articles cover all holders of the traditional titles; prominent individual holders may also have their own articles, usually in People in the History of Zambia below.

Other notable traditional leaders include:
 * Chitimukulu
 * Mwata Kazembe
 * Chief Kanongesha
 * Chief Monze
 * Litunga
 * Paramount Chief Mpezeni
 * Chief Mporokoso
 * Chief Mukuni

Religious figures

 * Emmanuel Milingo – Christian leader, has established the 'Married Priests Now' organisation in the USA
 * Adrian Mung'andu – Catholic archbishop of Lusaka

Footballers
• Abel Kanyamuna

• Ackim Musenge

• Alex Chola

• Andrew Sinkala

• Andrew Tembo

• Ashos Melu

• Barbara Banda

• Billy Mwanza

• Bizwell Phiri

• Boniface Simutowe

• Brighton Sinyangwe

• Charly Musonda

• Chaswe Nsofwa

• Chris Katongo

• Clifford Mulenga

• Clive Hachilensa

• Collins Mbesuma

• David Chabala

• Davies Phiri

• Dennis Lota

• Derby Makinka

• Dick Chama

• Dick Chama

• Dick Master Sensi

• Dickson Makwaza

• Dominic Yobe

• Donwell Yobe

• Edwin Mbaso

• Efford Chabala

• Elijah Litana

• Elijah Tana

• Emmanuel Mayuka

• Emmanuel Mwape

• Emmanuel Zulu

• Emment Kapengwe

• Enock Mwepu

• Eston Mulenga

• Evans Katebe

• Fashion Sakala

• Felix Katongo

• Fighton Simukonda

• Francis Kasonde

• Frederick Kashimoto

• Freddie Mwila

• George Kolala

• Ghost Mulenga

• Gibby Mbasela

• Gift Kampamba

• Godfrey 'Ucar' Chitalu

• Godfrey Kangwa

• Guus Til

• Harry Milanzi

• Henry Nyambe Mulenga

• Hijani Himoonde

• Hillary Makasa

• Ian Bakala

• Isaac Chansa

• Jacob Mulenga

• James Chamanga

• Jericho Shinde

• John Soko

• Johnson Bwalya

• Jones Chilengi

• Jones Mwewa

• Joseph Musonda

• Kaiser Kalambo

• Kalililo Kakonje

• Kalusha Bwalya

• Kapambwe Mulenga

• Kelvin Mutale

• Kenan Simambe

• Kennedy Mweene

• Kenneth Malitoli

• Laughter Chilembe

• Linos Chalwe

• Lucky Msiska

• Lushomo Mweemba

• Mark Sinyangwe

• Misheck Lungu

• Mordon Malitoli

• Moses Masuwa

• Moses Sichone

• Moses Simwala

• Moses Simwala

• Mumamba Numba

• Mwape Miti

• Noah Chivuta

• Numba Mwila

• Patrick Phiri

• Patrick Banda

• Patson Daka

• Perry Mubanga

• Perry Mutapa

• Peter Kaumba

• Phillimon Chepita

• Rabson Mucheleng'anga

• Rainford Kalaba

• Richard Mwanza

• Richard Stephenson

• Robert Earnshaw

• Robert Watiyakeni

• Rodgers Kola

• Rotson Kilambe

• Samuel Chomba

• Samuel "Zoom" Ndhlovu

• Stophira Sunzu

• Timothy Mwitwa

• Vincent Chileshe

• Whiteson Changwe

• Willie Phiri

• Winter Mumba

• Wisdom Mumba Chansa

• Zacharia Simukonda

• Zeddy Saileti

Athletes
• Samuel Matete

• Muzala Samukonga

• Racheal Nachula

• Tonny Wamulwa

• Obed Mutanya

• Fackson Nkandu

• Godfrey Siamusiye

Boxers
• Cassius Chiyanika

• Charm Chiteule

• Chisanda Mutti

• Davis Mwale

• Felix Bwalya

• Hastings Bwalya

• Keith Mwila

• Kennedy Kanyanta

• Lottie Mwale

• Lucky Mutale

• Precious Makina

• Catherine Phiri

• Esther Phiri

Other sports

 * Corné Krige captain of South African rugby Springbok world cup
 * Ellis Chibuye
 * Felix Bwalya
 * George Gregan captain of Australian rugby team
 * Madalitso Muthiya
 * Obed Mutanya
 * PG Nana
 * Samuel Matete world champion 400m hurdles
 * Yunus Badat
 * Amon Simutowe
 * Bob Hesford England rugby
 * Daffyd James Wales rugby
 * Phil Edmonds England cricket
 * Neal Radford England cricket
 * Jeff Whitley Northern Ireland football
 * Robert Earnshaw Wales football
 * Ian McCallum South Africa rugby Springbok
 * Roy McCallum South Africa rugby Springbok
 * Satwant Singh International rally driver
 * Steve Arneil youngest ever international rugby player aged 16 and karate expert

Musicians

 * Backxwash, Zambian-Canadian rapper
 * Denise Chaila, Irish and Zambian rapper, singer, poet, grime, and hip hop artist
 * Paul Ngozi, musician, band leader of the Ngozi Family rock band
 * Sampa The Great, singer, rapper, songwriter
 * Yo Maps, Zambia's international artist and currently most popular musician
 * Chile one Mr Zambia, Zambia's newest and most loved musician

Authors

 * Dambisa Moyo
 * Field Ruwe
 * Binwell Sinyangwe
 * Wilbur Smith
 * Ellen Banda-Aaku
 * Namwali Serpell
 * Fwanyanga Mulikita
 * Kenneth Kaunda
 * Andrew Kaumba

Chess players

 * Amon Simutowe

Zambian lawyers

 * Likando Kalaluka - Attorney General of the republic of Zambia from 2015 to 2021
 * Chipokota Mwanawasa - Special Assistant to the Zambian President for Public Policy from 2021 to date.
 * Nelly Mutti
 * Bokani Soko - Prominent business and lawyer

Media and TV
Evans Sinjela Journalist Derrick Sinjela Photo-Journalist Rainbow Newspaper Zambia Limited (RNZL), Kwilanzi Newspaper (KNZ), Zambian Developmental Media Alliance (ZADEMA), Zambian Children Young People and Women in Development (ZCYPWD), Journalists Against Piracy In Zambia (JAPIZ) Simon Banda Kwacha Magazine Zambia (KMZ). Henry Chunza Times of Zambia (ToZ) Chief Photo-Journalist
 * Jonah Buyoya - Zambian journalist
 * Mary Mbewe - Zambian journalist, and executive editor
 * Smokey Haangala - Zambian journalist, poet, writer, composer, musician

Physicians

 * Aaron Mujajati
 * Natasha Salifyanji Kaoma, medical doctor, and organization founder

Other people born in/related to Zambia

 * Steve Arneil – Karate Kyokushin practitioner born in South Africa, but lived in Zambia
 * Joseph and Luka Banda – Conjoined twins
 * Lukwesa Burak – Sky News anchor based in London
 * Alina Mshanga
 * Norman Carr – British wildlife conservationist who set up national parks in Zambia
 * John Edmond – Zambian-born Rhodesian singer
 * Phil Edmonds – English cricketer born in Lusaka
 * Robert Earnshaw – Zambian-born Welsh international football player
 * Stanley Fischer – Zambian-born Deputy Chairman of the U.S. Federal Reserve Bank and Governor of the Bank of Israel
 * Tawny Gray – sculptor
 * George Gregan – Zambian-born captain of the Australian Wallabies Rugby Union team
 * Amy Holmes – Zambian-born (Zambian father, American mother), The Blaze news anchor and CNN political contributor
 * Daffyd James – Zambian-born Welsh international rugby player
 * V. M. Jones – Author
 * Corné Krige – Zambian-born South African Springboks Rugby Union team captain
 * Robert Lange – Zambian-born record producer and songwriter
 * Chilu Lemba – Radio and TV presenter
 * Rozalla Miller – British/Zimbabwean singer born to a Zambian mother
 * Dambisa Moyo – International economist and best-selling author, born and raised in Lusaka
 * Martin Mubanga – Zambian extrajudicial prisoner of the United States
 * Monica Musonda – Lawyer turned entrepreneur
 * Rungano Nyoni – Zambian-born Welsh director
 * Nsofwa Petronella Sampa – Psychological counselor and HIV activist
 * Emeli Sandé – British singer, Zambian father
 * Denise Scott Brown – Zambian-born American architect
 * David Shepherd – British conservationist who has painted Zambian wildlife
 * Kapelwa Sikota (1928–2006) – First Zambian registered nurse
 * Hammerskjoeld Simwinga – Conservationist/environmentalist
 * Peter Amos Siwo – Pioneering graduate and civil servant
 * Wilbur Smith – Zambian-born (Ndola) British/South African author
 * Jeff Whitley – Zambian-born played for Northern Ireland
 * Jeff Whitley – Zambian-born played for Northern Ireland

Other prominent figures in the history of Zambia
This is a list of deceased historical figures (or sub-lists of them) in Zambia and its antecedent territories, and combines Zambians, Africans and non-Zambians including British people and Northern Rhodesians.

 * Robert Edward Codrington – colonial administrator of the two territories ruled by the British South Africa Company (BSAC) which later became Zambia
 * Father Jean-Jacques Corbeil – Canadian missionary and ethnographer of Bemba culture
 * Dan Crawford – missionary pioneer
 * Bishop Joseph Dupont – missionary pioneer
 * Sir Stewart Gore-Browne – called Chipembele by Africans, soldier, pioneer white settler, builder, politician and supporter of independence in Northern Rhodesia
 * List of governors of Northern Rhodesia
 * List of governors-general of the Federation of Rhodesia and Nyasaland
 * Evelyn Dennison Hone – last governor of Northern Rhodesia
 * Alice Lenshina – leader of the Lumpa religious sect
 * General Paul von Lettow-Vorbeck – leader of German East Africa forces of World War I
 * Lewanika – Litunga of the Lozi
 * David Livingstone – British Scottish missionary-explorer
 * Michael Mataka – first native Zambian to become police commissioner
 * Mwata Kazembe – Chief of the Kazembe-Lunda
 * Mpezeni – warrior-king of one of the largest Ngoni groups of central Africa
 * Nalumino Mundia – Prime Minister, 1981–1985
 * Alick Nkhata – popular Zambian musician and broadcaster in the 1950s through to the mid-1970s
 * Baldwin Nkumbula
 * Harry Nkumbula – Nationalist leader who assisted in the struggle for the independence of Northern Rhodesia from British colonialism
 * Mwene Chitengi Chiyengele – Mbunda chief who led his tribesmen from north-eastern Angola to Bulozi, western Zambia around 1795.
 * Cecil Rhodes – English-born businessman, mining magnate, and politician in South Africa and an ardent believer in colonialism and imperialism, founder of the state of Rhodesia
 * Sebetwane – Basotho chief who fled from Shaka Zulu, eventually conquering and settling in Western Province
 * Mamochisane – daughter of Sebetwane, succeeded him as Makololo queen
 * Sekeletu – Makololo King of Barotseland in western Zambia from about 1851 to his death in 1863
 * Alfred Sharpe – British administrator and agent for Cecil Rhodes
 * Lawrence Aubrey Wallace
 * Roy Welensky – leader of white trade union and settler politician
 * Rohan Oza creator of Vitamin Water in the US, sold to Coke a cola

title: List of Zambians


text:
Talk:Color of chemicals

Colour of chemicals......

From PNA/Chemicals

 * Colors of chemicals is written in schoolteacher form, has some format problems, and also has some factual errors as brought up on its talk page. Needs help. --Alex S 04:51, 17 Mar 2004 (UTC)

 * Suggest move of relevant information to Color under the heading 'Chemistry of color' and keeping info on specific ion colors on this page. Needs discussion on its talk page.MGM 19:30, Apr 19, 2004 (UTC)

 * I agree to MGM but then the Titel of the article should be changed accordingly.FriedrichB 02:53, 3 November 2006 (UTC)

Colors of common chemical compounds

hydrated ions
name   formula    colour
 * alkali metals  M^+  none
 * alkaline earth metals  M^2+  none
 * scandium Sc^3+  none
 * titanyl  TiO^2+    none
 * vanadate VO4^3-  none
 * vanadyl VO^2+    yellow
 * chromium(III) Cr^3+  green
 * chromate   CrO4^2- yellow
 * dichromate Cr2O7^2-  orange

(to be continued)

Hydrated Salts
Some distinction should be made between the fact that most salts are colorless when anhydrous, and only take on color when H2O is introduced into the crystalline structure. I'm a little sketchy on the chemical reasons behind this, though, so someone with a bit more experience than I should work on it. Also, the salts table probably ought to be expanded - I can work on that. K1avg 15:33, 30 Apr 2005 (UTC)

Organic compounds
Shouldn't there be alot of organics here, too? I'll see if I can find a representitive list... Adqam 14:14, 16 December 2005 (UTC)

As far as I know, not many common organic compounds have vivid colors; color is rarely used to distinguish between organic compounds. --Thezookeeper 22:57, 28 December 2005 (UTC)

 * Off the top of my head there's lycopene, which is responsable for the red colouring of tomatoes. I agree that there are not many; but would argue that the organics that are coloured are somewhat significant. Adqam 16:47, 4 January 2006 (UTC)

Other
What exactly do you mean by giving colors for potassium, sodium, and hydrogen gas? Potassium gives off a purple flame when BURNED and sodium gives off a yellow flame when BURNED, but the elements are not purple or yellow by any means. And hydrogen gas is pretty...colorless... --Thezookeeper 03:55, 12 December 2005 (UTC)

 * There is already an article about flame coloration i.e. Flame_test. Therefore this one should concentrate on the dissolved ions shouldn't it? --KIce 12:44, 22 January 2006 (UTC)
 * Yeah 43.229.90.225 (talk) 08:56, 11 March 2022 (UTC)

Quantum mechanics
There are complications: cobalt chloride is pink or blue depending on the state of hydration (blue dry, pink with water) so it's used as a moisture indicator in silica gel... Zinc Oxide is white, but IIRC, at higher temperatures becomes yellow, returning to white as it cools, and Strictly speaking, the cuprammonium ion isn't a hydrated ion.. Malcolm Farmer 20:31, 31 Jul 2003 (UTC)

What is all this talk of electron clouds being big or small ? It doesn't make any sense to me :-( As far as I ever knew colour is caused by the difference in energy of atomic or  molecular orbitals being in the region of visible light. Alkaline metals have white compounds because the energy levels are widely spaced and therfore correspond to UV. Transition metals have coloured compunds because the d orbital of the (N-1)th shell and the s orbital of the of the Nth shell are much closer together in energy and are therfore able to absorb visible light.Have I been taught wrong ? theresa knott 13:50, 2 Dec 2003 (UTC)

theresa, your comments sound detailed enough to have merit; it's a good question. the article leaves you inferring there must be some correlation between the wavelength (or half?) and the cloud radius/diameter, though not necessarily discrete. are we talking reflective effect, absorption/reemission, etc. kind of the heart of the issue, would be interesting to see it detailed. Chris Rodgers 07:34, 8 Apr 2004 (UTC)

 * You're right that the color of a substance depends on the spacing of its orbitals. I have an incomplete sort of idea about how this is related to the size of the electron clouds.

 * Why do we have orbitals in the first place? Why are electron energy levels quantized?  They're quantized because they're confined to a very small space.  The more you confine them, the broader the gaps between possible energy levels.  The addition of an atom to a molecule increases the available space and reduces the confinement. --Smack (talk) 19:57, 11 Jan 2005 (UTC)

 * That's not true at all. The energy gap between levels has nothing whatsoever to do with the size of the orbitals.  In the case of the transition metal complexes that seem to be the focus of this particular article, the  relevant energy gap is called the "Ligand Field Splitting Parameter."  This parameter is a characteristic of the metal ion and the ligand(s) present.  See the article Ligand Field Theory. Ulthar 19:36, 17 April 2007 (UTC)

I see if I can help you guys out. Since I study chemistry. It's a subject I feel I can contribute to. --MGM 15:22, Apr 18, 2004 (UTC)

Am I getting anything wrong?
Or is the introduction really as stupid as it sounds to me?

SundarKanna 08:34, 26 December 2005 (UTC)

Redo Intro
I'm hoping someone will support my drastic edit. The intro was unfocused, not clear, and in some cases wrong. Other pages are already devoted to color, light, quantum theory, spectroscopy, etc. This page, if it deserves to exist at all, should be clear about the connection between chemicals and colors, and give a clear explanation of why they have the colors they do. I tried to do that with this intro. I'm not going to remove the cleanup tag, but hopefully if this is a good edit someone will. Also a more concise title might be in order, if anyone has any ideas? -Id711 22:43, 11 July 2007 (UTC)

 * From the point of view of someone almost entirely ignorant about this subject, here are my comments on the intro:

"All chemical compounds, including atoms, are capable of absorbing and releasing energy. The amount(s) of energy (quanta) absorbed and released is determined by the quantum structure of the chemical. The release of energy visible to the human eye spans the wavelengths 380 nm to 760 nm and is commonly referred to as color."

 * This paragraph, and the article in general, seems to be crying out for the mention of the words "electromagnetic radiation".

"The relationship between energy and wavelength is determined by the equation:
 * $$E = hf = \frac{hc}{\lambda} \,\! $$

where E is the energy of the quanta (photon), h is Planck's constant(=6.62606957(29)×10−34), $$\lambda$$ is the wavelength and c is the speed of light."

 * The relevance of this to colour is not terribly clear.

"The relationship between chemical structure and energy can be understood using atomic orbital, molecular orbital, or Ligand Field Theory."

 * Is this sentence grammatically correct? Or does it mean "atomic orbital theory, molecular orbital theory, or Ligand Field Theory"?

"In organic compounds the color can be determined by the difference between the Highest Occupied Molecular Orbital and the Lowest Unoccupied Molecular Orbital. The energy absorbed and/or released does not directly correlate to what humans perceive as color."

 * 1. I find this last sentence confusing. To me it suggests that there is some other entirely different factor that influences colour. I'm guessing what's trying to be said is that the relationship between absorption/emission and colour is fairly complex, but that doesn't really come across.

 * 2. In that light, it might be better in the first sentence to say "the absorption/emission profile can be determined", or similar, rather than "the color can be determined".

 * 3. The conjunction of these two sentences suggests that the second sentence only applies to organic compounds, which I assume is not the case.

Matt 19:54, 2 August 2007 (UTC).

Recommend for deletion
This article is so full of misinformation and so utterly lacks a unifying theme that it arguably does more harm than good to non-expert readers. I can absolutely see the benefit of an article that surveys the many origins of color in chemical systems, but this article is not it. Even the title, "color of chemicals," makes me cringe, and furthermore, is not relevant to most of the things in the article itself. Ions are not chemicals. Flames are not chemicals. I applaud the work of some editors to improve what was an even worse article a few years ago, but nevertheless, it remains a strong recommendation for deletion. -75.150.254.105 (talk) 22:03, 1 October 2012 (UTC)

What about anions
Such as I- which is usually colorless. — Preceding unsigned comment added by 172.248.197.0 (talk) 19:12, 13 September 2015 (UTC)

title: Talk:Color of chemicals


text:
User:2988

It is more meaningful in hexidecimal. 0xBAC 20:02, 31 Jul 2003 (UTC)

title: User:2988


text:
Talk:The Man Who Wasn't There (2001 film)

Black and White
It says in the first paragraph of the Story section that "All of the action takes place in and around Santa Rosa, California in approximately 1949, and gets much of its period feel from being filmed in black and white." But it's not filmed in black and white. It's color, albeit muted tones.
 * Noooo.... it's black and white. Granted, the movie was filmed in color and then PRINTED on high contrast b/w stock, but the result is that the movie is black and white, not muted color. —The preceding unsigned comment was added by 130.111.63.98 (talk) 21:39, 19 December 2006 (UTC).

Smoking
I don't believe the bits about smoking. They beg for, if not demand, qualification and/or proof. Koyaanis Qatsi 20:02, 31 Jul 2003 (UTC)

Surely you remember smoking being present in the film itself. As for the criticism, I read it in a print article, the Star Tribune as I recall, though perhaps it was in a syndicated column there or in a news weekly. Forgive my memory, obviously it was some time ago as it was contemporaneous with the film's release. I can look for them.

By the way, I enjoyed the film considerably, though I could have done without the UFOs.

 * Yes, I remember the smoking, but I doubt the statement about smoking in film being in decline and then taking off again. It needs a range of dates first, and then a comprehensive study proving it so.  I doubt the first half of the statement--the decline--because it's based on a perception and not a study, and also doesn't specify English-language films, or U.S. films, or British films, and I'm it sure doesn't take into account films made in Chinese, Russian, or Bengali.  Similarly, the statement doesn't take into account even its own Anglocentric history: U.S., Canadian, and British films of the 1920s and 1930s, when it was tres chic for women to smoke--nor does it take into account the earlier noir films where many of the flawed protagonists would smoke, sometimes while also drinking.  Maybe smoking in English-language film is on the increase, but first I'd like to know from what point (e.g. since 1983), and second I'd like to see the study proving it so.  I'm sure that there isn't one.
 * As for the UFOs, the fictional Kenneth Loring (on the commentary track on the Blood Simple DVD) commented about Blood Simple that it was "crack storytelling," "no spaceships necessary." :-)  Koyaanis Qatsi 21:09, 31 Jul 2003 (UTC)

Here's what I found.

http://abcnews.go.com/sections/wnt/DailyNews/smoking_movies020119.html

http://www.no-smoking.org/dec01/12-27-01-1.html

http://thatsrich.com/smokingkills.htm

It's no big deal to me, just an interesting anecdote about the place the film has in the history of cinema. Take it out if you like.

Kat 21:16, 31 Jul 2003 (UTC)

From the article:
 * The film received generally positive reviews when released, though the film was cited as one of the most obvious examples of the growing presence of cigarette smoking in cinema; 2001 was the year when the downward trend on portrayal of smoking in cinema was reversed.

 * This article mentions that James Glantz, the anti-smoking crusader who made the study, took a "random sampling of five of the 20 top-grossing films from each year," which tells me all I need to know about Glantz's study's reliability. Furthermore, his statement "people who smoke in the real world tend to be poor, poorly educated people" tells me most of what I need to know about his ability to put aside his agenda.  Numbers, Mr. Glantz, facts, verifiability.  Koyaanis Qatsi 21:30, 31 Jul 2003 (UTC)

 * I think I'll concede at this point. Kat 21:45, 31 Jul 2003 (UTC)

 * The thing that irritates me is that I agree with Glantz that smoking in U.S. film may be on the rise since the 1970s--but that I wish he'd do some solid research before saying so. As it is, his study wouldn't even look very promising as preliminary research to submit along with a grant proposal.  At the very least, he could have watched all of the top 20 grossing films each year--it's not that hard, and they're generally good films.  But even that would not be so good, as it doesn't examine all films, and therein his bias is revealed: even without reading about Glantz himself I would have known that Glantz meant to say that the appearance of smoking in films causes children to smoke, since he's only examining popular films, and not the tanks like Ishtar.  <POV ramblings>And from there I infer that Glantz is one of those irritating jerks who decides that it's ok to interfere with someone else's freedom of speech--and, by extension, to disprove their own belief in democracy, since it requires freedom of speech--because Think Of The Children, when a better option would be to speak to his children frankly to give them a wide enough framework to make an educated decision.  And I don't like smoking.  As if the anti-smoking camp needed their own version of Michael Moore....</POV ramblings>  Koyaanis Qatsi 22:27, 31 Jul 2003 (UTC)

 * I'll send you some cigars in an effort to show an alternate POV on smoking... If not Glantz then some of the others claimed some sort of grand conspiracy where hollywood producers and directors were placing cigarettes in films in exchange for--who knows?--a third round draft pick? Cuban rum?  Some other form of contraband?  Money?  Mind you, there's no evidence for any of this, but that doesn't stop the tabliods and their toadies.

Cinematographic style
I just took out the bit about the rotating cut--I just started the film again and the first 40 transitions are all straight cuts--not even a dissolve. If you meant clock wipes, e.g. the kind of cut frequently used in Star Wars, you are wrong. I'll watch the film again at some point but I've already seen it several times, and I don't believe it. Perhaps you're thinking of a)the hubcap after the accident, b) the UFO it turns into in Billy Bob's character's dream, or c) the stethoscope he wakes up to.

 * I seem to recall that starting with the hubcap after the accident, there was a growing use of unusual cuts. I've only seen the film once, in a theater, since I don't have a TV or VCR, so feel free to fix my comments.  I mainly felt the need to weigh in since your writeup hadn't made mention of either the smoking or the black- and white filming, both of which are, to me, important elements of what the film is.  The other comments came to me as I was writing.

 * They are important elements; thanks for mentioning them. :-)

Also, I'd like to know what you mean by The cinematography is straightforward and traditional. Koyaanis Qatsi 21:23, 31 Jul 2003 (UTC)

 * Well, how would you characterize it? It's not filmed in scope.  There are few unusual visual effects or camera angles.  There is none of the radical perspective that comes with the camera right close to the subject with a short lens, or with the camera a good distance away with a long lens.  There isn't really even much follow-focus or zoom shooting.  The lighting is textbook, for black and white.  That is, a little harder light than would be typical for color, but not by much; with the usual sort of quarter-light setup. Very well done, mind you, just done in a way that doesn't draw attention to itself.  Kat 21:45, 31 Jul 2003 (UTC)

 * Could you say that instead? I had no idea of whether you were talking about lensing, depth of field, etc.  Now that you mention it, you're right--the film, visually, looks very much like a film noir from the late 1940s and early 1950s--the lenses tend towards the normal, the depth of field is long, the cameras tend to be from eye level.  Certainly none of the long lenses that the Coens favored early in their career (thinking here of Blood Simple and Raising Arizona) and not many of the extreme angles used in films like Raising Arizona and The Hudsucker Proxy.  Koyaanis Qatsi 21:52, 31 Jul 2003 (UTC)

By the way, do we have a page on the film that you take your name from? I couldn't find it.

 * It's at Koyaanisqatsi. :-)  Koyaanis Qatsi 21:52, 31 Jul 2003 (UTC)

The additions look good, thanks. Koyaanis Qatsi 22:37, 31 Jul 2003 (UTC)

This whole paragraph is horribly written, opinionated, and not even sourced. It should be deleted or rewritten for a neutral POV.76.120.66.57 (talk) 04:57, 28 December 2010 (UTC)

 * The film looks nothing like film noir in cinematography. You'd never see as many slo-mos, such a slow pacing, as long takes, so many slow tracking shots (and not only to go into a scene or close it, but throughout the whole film), so many close-ups, nor are the field sizes in general characteristic of film noir in any way (noir only very rarely gets so close to people's faces or other details, in any case not as often as here, as it generally signifies a kind of sympathy and intimacy not typical for film noir). There's only one single shot in the whole film that is reminiscent of a typical noir field size, and that's the one in the car where they're driving to that Italian marriage. Other than that, there's only a maybe as for the one shot where the barber is sitting in the bar with the coroner, that one at least comes somewhat close to a typical noir field size.

 * Most likely what you mean is not the cinematography but the film's lighting, as that's pretty much spot on for some of the best noirs (though not really for most of the cheaper '40s and '50s b-movie noir flicks that the genre is usually associated with, and most likely where you got the idea of "only if mostly normal lenses" from), and especially for German expressionism, which is where noir got that lighting style from. Oh, and I guess this is a sad time for movies that b/w plus solid shots due to the use of actual camera tripods make everyone think of classic Hollywood indeed. And I also guess that '40s era clothing and props add to the confusion if you're no real film expert.

 * If you're looking for a *REAL* hommage to film noir also in cinematography (i. e. field sizes, camera placement and movements), take The Good German, or the fantasy sequences in The Singing Detective. The Man Who Wasn't There, however, is a hi-class, slow-moving modern art movie, with a very small influence from classic Hollywood romances and musicals in its cinematography. It's only the lighting that is noir and expressionist. --87.151.21.18 (talk) 07:58, 2 June 2012 (UTC)

Structure
I feel that the detailed plot description after the spoilers warning is a wee bit superflous - the prior section is a perfectly comprehensive discussion of the film. If you want to know the exact plot rent it out or buy it (Only £4.99 at HMV, fellow brits!). Do others agree?

 * No, I like the detailed synopsis, although it has now been fused together with the outline formerly contained in the analytical section, so that all plot details are below the spoiler warning. Ellsworth 17:05, 4 Jul 2004 (UTC)

I might get flayed alive for asking this, but can anyone say what the meaning or relevance of the film's title? It's been a while since I watched it, and I came to this article hoping to find out.--81.179.91.108 22:51, 24 June 2006 (UTC)
 * See Existentialism. Although the influence of Camus is noted in this article, I think someone with a background in philosophy should take a crack at analyzing the existential elements of the film.  Also, it would be great to see a section about how this movie fits in with the Coens' complete body of work and also what was the critical and audience response.  Thanks! 69.231.194.152 18:11, 15 October 2006 (UTC)

Without consulting philosophy texts or Coen precedents, I can say that, for me, the film's title is pivotal. During most of the movie, Ed can't make others acknowledge his existence, hence he is "The Man Who Wasn't There." He can do anything including killing a man and still nobody acknowledges or listens to him. Then he reaches out and helps the teenage girl. At that moment, he becomes "There": As soon as she acknowledges him (makes a pass at him), external effects descend on him, starting with the car accident. Yet there is a measure of redemption here. At the beginning of the film we see Ed's unbearable internal strife, through the close depiction of sharp scissors etc pointed at the viewer's eyes. By the end, he is calm and reconciled to his fate: All the internal knives have gone to the outside, where they don't bother him anymore.12.26.40.50 (talk) 22:22, 9 December 2007 (UTC)

 * IMHO, the film is just about the hilarious absurdity of human life because people think they're oh-so-smart when in reality they're totally misinterpreting everything they see. That's not the same kind of absurdity as in existentialism, as existentialism holds simply that there's no meaning to life whatsoever, as in, "Why are we here? What are we supposed to do?". However, what this film is saying is rather that everybody's judgement is so flawed that they're misinterpreting everything to comical outcome, which is even more pronounced by constrasting them with the main character that we're supposed to identify with. Every character in the film is either stupid, ridicoulous, pathetic, or flawed in any other comical or pathetic way compared to the main character. It's why Riedenschneider's line that "The more you look, the less you see" is the central line from the film for me, because whatever explanations people come up with for what they see, they're most likely hilariously wrong because of their personal bias or narrow-mindedness, because they hardly ever ask the right questions, and often also because they don't really care other than proving how "smart" or whatever they are. Or where they care, their zeal makes them blind.

 * That's not existentialism, that's just clever comedy and some healthy dose of humility. To err is human, as they say, but that's no existentialism. --87.151.21.18 (talk) 08:36, 2 June 2012 (UTC)

The Stranger
I tagged the comparison to Camus's The Stranger, not because I disagree, but because it's original research. I think this claim, and the article as a whole, would benefit from a link to a site comparing the two. Cheesechimp 09:44, 24 September 2007 (UTC)

WikiProject class rating
This article was automatically assessed because at least one WikiProject had rated the article as start, and the rating on other projects was brought up to start class. BetacommandBot 01:57, 9 November 2007 (UTC)

Color DVD Note Restored
I had originally under the "Analysis" section noted that the film was shot in color and transferred to black and white as evidenced by mistaken color reels being used, and noted the existence of a color DVD release in Europe. For some reason the mention of the color DVD was dropped along with a link to a comparison page. I restored both (and in the process accidentally made 2/3's of the article invisible due to a missing " "! Don't worry, it's now back the way it was.) While being stuffed under the "Analysis" section is a bit cumbersome, I think it's important the article include a mention of a color DVD release and the comparison page at least somewhere. Perhaps a "DVD Release" section is in order? —Preceding unsigned comment added by 4.254.115.82 (talk) 03:34, 7 September 2008 (UTC)

Not Santa Rosa
I realize it's nitpicking, but if a town is named in a narrative, there should be some actual research done regarding it.

That is NOT Santa Rosa, California. The courthouse NEVER looked like that, not even in the late 40's and early 50's, and I was there. Furthermore, although it seemingly intends to be a small town, when the title character is walking against pedestrian traffic toward the end, there are so many people in the scene that it more resembles the foot traffic on Market Street in San Francisco.

And most glaringly, it's preposterous to think that the town (the Sonoma County seat) wouldn't have dry-cleaning establishments - many of them, in fact.

Last - one does not go 'up' to Santa Rosa from Sacramento, or 'down' to Sacramento from it. Just the opposite. Sacramento is northeast from SR.

For a more accurate look at Santa Rosa, CA, check out "Storm Center" with Betty Davis. THAT is Santa Rosa.

KellyK, Santa Rosa High School Class of '60

Kellyk123 (talk) 02:14, 28 September 2008 (UTC)

 * Re: "Up and Down" - thanks, Kelly, for your interesting memories. For international readers, I would imagine that Sacramento is indeed 'Up' from Santa Rosa. It is a convention from railways in Britain, Japan etc. that one takes a train up to the major centre and down to the provinces. This especially applies to a capital. There is an up line to town and a down line to the country - it has nothing to do with north and south. I live in the North of England but would take a train up to London.

 * I note from the Railroad direction article that US railroads commonly only use north, south, east and west to signify line direction. It is nice that I can still learn things from WP.

 * Dizzley (Peter H) (talk) 05:27, 8 December 2010 (UTC)

Riedenschneider
Saw this film on TV today for the first time and enjoyed it immensely. Great acting, casting and photography! I especially liked the bright and hazy rays of the sun coming through the jail waiting room skylight, just as with the law library scene in "Citizen Kane". Also, "Riedenschneider"...a very unusual name, to say the least... was the last name of the Sam Jaffe character in "The Asphalt Jungle". (A coincidence???)

(Cinemajunkie (talk) 19:58, 13 December 2008 (UTC))

Sound track
On the sound track the 6th track is titled "Ed Returns Home (Piano Sonata, Opus 79)". It is unknown from which Beethoven sonata this is. The most famous is Piano Sonata No25, Opus 79, but the first three movements do not sound like the soundtrack of this movie at all. Maybe it's a free interpretation of the chords or something like that. —Preceding unsigned comment added by 82.73.84.93 (talk) 01:33, 18 January 2009 (UTC)

Nirdlinger
Perhaps it should be noted that the Nirdlinger's department store is an obvious reference to Phyllis Nirdlinger from the James M. Cain novel Double Indemnity (for the film adaptation, her name was changed to Dietrichson). --Jvs.cz (talk) 14:29, 24 November 2010 (UTC)

American or British production
I have temporarily protected this page, as there was edit warring between whether this was an American production of a British-American production. Given that one of the production companies involved was the Working Title Films, it does seem it was British-American. However, please settle the issue here before the temporary page protection expires. — Maile (talk) 14:10, 10 September 2017 (UTC)

"The Man Who Wasnt There" listed at Redirects for discussion
An editor has asked for a discussion to address the redirect The Man Who Wasnt There. Please participate in the redirect discussion if you wish to do so. Reyk YO! 17:00, 9 November 2019 (UTC)


text:
Yuma Territorial Prison

The Yuma Territorial Prison is a former prison located in Yuma, Arizona, United States. Opened on July 1, 1876, and shut down on September 15, 1909. It is one of the Yuma Crossing and Associated Sites on the National Register of Historic Places in the Yuma Crossing National Heritage Area. The site is now operated as a historical museum by Arizona State Parks as Yuma Territorial Prison State Historic Park.

Prison
Opened while Arizona was still a U.S. territory, the prison accepted its first inmate on July 1, 1876. For the next 33 years 3,069 prisoners, including 29 women, served sentences there for crimes ranging from murder to polygamy. The prison was under continuous construction with labor provided by the prisoners. In 1909, the last prisoner left the Territorial Prison for the newly constructed Arizona State Prison Complex located in Florence, Arizona. It was also the third historic park in Arizona. The state historic park also contains a graveyard where 104 of the prisoners are buried.

High school
Yuma Union High School occupied the buildings from 1910 to 1914. When the school's football team played against Phoenix and unexpectedly won, the Phoenix team called the Yuma team "criminals". Yuma High adopted the nickname with pride, sometimes shortened to the "Crims". The school's symbol is the face of a hardened criminal, and the student merchandise shop is called the Cell Block.

Notable inmates

 * Burt Alvord – Cochise County lawman and train robber
 * Bill Downing – Train robber
 * William J. Flake – Mormon pioneer imprisoned for violating the Edmunds Act
 * Pearl Hart – stagecoach robber
 * "Buckskin Frank" Leslie – gunfighter and killer of Billy Claiborne
 * Ricardo Flores Magón – Mexican revolutionary, founder of the Partido Liberal Mexicano
 * Pete Spence – outlaw involved in the Earp-Clanton feud

In popular culture
(Listed chronologically) The Yuma Territorial Prison has been featured in:
 * "Forty Lashes Less One", a 1972 western novel by Elmore Leonard about a planned prison break in 1909, the year the prison was closed.
 * "Three-Ten to Yuma", a 1953 western short story written by Elmore Leonard, and also in two film adaptations:
 * 3:10 to Yuma, the 1957 original (directed by Delmer Daves and starring Glenn Ford and Van Heflin), and the 2007 remake, also titled 3:10 to Yuma, directed by James Mangold and starring Russell Crowe and Christian Bale.
 * 26 Men, the 1957 episode "Incident at Yuma" of the syndicated western series of true stories of the Arizona Rangers, focuses on a prison break and the difficulty of gathering a posse faced by Captain Thomas H. Rynning, portrayed by Tristram Coffin.
 * "Hell Hole Prison" season 12, episode 8 of the Travel Channel show Ghost Adventures was shot at the prison. focusing its allegedly history of hauntings.
 * The prison was one of the two featured stories on the 71st episode of the podcast And That's Why We Drink.
 * Named one of the top haunted destinations in America by USA Today in October 2020.

title: Yuma Territorial Prison


text:
LTU

LTU may refer to:

Companies

 * LTU Austria (LTU Billa Lufttransport Unternehmen GmbH), a former airline in Vienna, Austria
 * LTU International, former German airline acquired by Air Berlin
 * LTU Technologies, software company

Sports

 * Littoisten Työväen Urheilijat, a sports club from Littoinen, Finland
 * LTU Aquatics, the national federation for Aquatics in body of swimming of Lithuania
 * LTU, the IOC country code for Lithuania
 * LTU, the ISO 3166-1 alpha-3 country code for Lithuania, used by FIFA

Universities

 * La Trobe University, university in Australia
 * Lawrence Technological University, university in Southfield, Michigan
 * Ling Tung University, university in Taichung, Taiwan
 * Louisiana Tech University, university in Ruston, Louisiana
 * Luleå University of Technology, university in Sweden

Other

 * ISO 639:ltu or Latu language, an Austronesian language spoken in Indonesia
 * Land treatment unit, term in bioremediation
 * Licence to use, type of intellectual property licence
 * LTU-Arena, former name of Merkur Spiel-Arena in Düsseldorf, Germany
 * IATA code for Latur Airport, India

title: LTU


text:
CliffsNotes

CliffsNotes are a series of student study guides. The guides present and create literary and other works in pamphlet form or online. Detractors of the study guides claim they let students bypass reading the assigned literature. The company claims to promote the reading of the original work and does not view the study guides as a substitute for that reading.

History
CliffsNotes was started by Nebraska native Clifton Hillegass in 1958. He was working at Nebraska Book Company of Lincoln, Nebraska, when he met Jack Cole, the co-owner of Coles, a Toronto book business. Coles published a series of Canadian study guides called Coles Notes, and sold Hillegass the U.S. rights to the guides.

Hillegass and his wife, Catherine, started the business in their basement at 511 Eastridge Drive in Lincoln, with sixteen William Shakespeare titles. By 1964, sales reached one million Notes annually. CliffsNotes now exist for hundreds of works. The term "Cliff's Notes" has become a proprietary eponym for similar products.

IDG Books purchased CliffsNotes in 1998 for $14.2 million. John Wiley & Sons acquired IDG Books (renamed Hungry Minds) in 2001. In 2011, CliffsNotes announced a joint venture with Mark Burnett, a TV producer, to create a series of 60-second video study guides of literary works. In 2012, CliffsNotes was acquired by Houghton Mifflin Harcourt. In 2021, CliffsNotes was acquired by Course Hero.

title: CliffsNotes