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Rita Hayworth

Rita Hayworth (born Margarita Carmen Cansino; October 17, 1918 – May 14, 1987) was an American actress, dancer, and pin-up girl. She achieved fame in the 1940s as one of the top stars of the Golden Age of Hollywood, and appeared in 61 films in total over 37 years. The press coined the term "The Love Goddess" to describe Hayworth, after she had become the most glamorous screen idol of the 1940s. She was the top pin-up girl for GIs during World War II.

Hayworth is perhaps best known for her performance in the 1946 film noir Gilda, opposite Glenn Ford, in which she played the femme fatale in her first major dramatic role. She is also known for her performances in Only Angels Have Wings (1939), The Strawberry Blonde (1941), Blood and Sand (1941), The Lady from Shanghai (1947), Pal Joey (1957), and Separate Tables (1958). Fred Astaire, with whom she made two films, You'll Never Get Rich (1941) and You Were Never Lovelier (1942), once called her his favorite dance partner. She also starred in the Technicolor musical Cover Girl (1944), with Gene Kelly. She is listed as one of the top 25 female motion picture stars of all time in the American Film Institute's survey, AFI's 100 Years...100 Stars.

For her contribution to the motion picture industry, Hayworth received a star on the Hollywood Walk of Fame at 1645 Vine Street in 1960.

In 1980, Hayworth was diagnosed with early-onset Alzheimer's disease, which contributed to her death in 1987 at age 68. The public disclosure and discussion of her illness drew attention to Alzheimer's, and helped to increase public and private funding for research into the disease.

Early life
Hayworth was born as Margarita Carmen Cansino in Brooklyn, New York, the oldest child of two dancers. Her father, Eduardo Cansino, was of Spanish Roma/Gitano descent  from Castilleja de la Cuesta, a little town near Seville, Spain.

Her mother, Volga Hayworth, was an American of Irish and English descent who had performed with the Ziegfeld Follies. The couple married in 1917. They also had two sons: Eduardo Jr. and Vernon. Her maternal uncle Vinton Hayworth was also an actor.

Margarita's father wanted her to become a professional dancer, while her mother hoped that she would become an actress. Her paternal grandfather, Antonio Cansino, was renowned as a classical Spanish dancer. He popularized the bolero, and his dancing school in Madrid was world-famous. Antonio Cansino instructed Rita Hayworth in her first dance lesson. Hayworth later recalled, "From the time I was three and a half... as soon as I could stand on my own feet, I was given dance lessons." She noted "I didn't like it very much... but I didn't have the courage to tell my father, so I began taking the lessons. Rehearse, rehearse, rehearse, that was my girlhood."

She attended dance classes every day for a few years in a Carnegie Hall complex, where she was taught by her uncle Angel Cansino. Before her fifth birthday she was one of the Four Cansinos featured in the Broadway production of The Greenwich Village Follies at the Winter Garden Theatre. In 1926, at the age of eight, she was featured in La Fiesta, a short film for Warner Bros.

In 1927, her father took the family to Hollywood. He believed that dancing could be featured in the movies and that his family could be part of it. He established his own dance studio, where he taught such stars as James Cagney and Jean Harlow.

In 1931, Eduardo Cansino partnered with his 12-year-old daughter to form an act called the Dancing Cansinos. Her hair was dyed from brown to black to give her a more mature and "Latin" appearance. Since under California law Margarita was too young to work in nightclubs and bars, her father took her with him to work across the border in Tijuana, Mexico. In the early 1930s, it was a popular tourist spot for people from Los Angeles. Because she was working, Cansino never graduated from high school, but she completed the ninth grade at Hamilton High in Los Angeles.

Cansino (Hayworth) took a bit part in the film Cruz Diablo (1934) at age 16, which led to another bit part in the film In Caliente (1935) with the Mexican actress Dolores del Río. She danced with her father in such nightspots as the Foreign and the Caliente clubs. Winfield Sheehan, the head of the Fox Film Corporation, saw her dancing at the Caliente Club and quickly arranged for Hayworth to do a screen test a week later. Impressed by her screen persona, Sheehan signed her to a six-month contract at Fox under the name Rita Cansino, the first of two name changes during her film career.

Early career
During her time at Fox, Hayworth was billed as Rita Cansino and appeared in unremarkable roles, often cast as the exotic foreigner. In late 1934, aged 16, she performed a dance sequence in the Spencer Tracy film Dante's Inferno (1935), and was put under contract in February 1935. She had her first speaking role as an Argentinian girl in Under the Pampas Moon (1935). She played an Egyptian girl in Charlie Chan in Egypt (1935), and a Russian dancer in Paddy O'Day (1935). Sheehan was grooming her for the lead in the 1936 Technicolor film Ramona, hoping to establish her as Fox Film's new Dolores del Río.

By the end of her six-month contract, Fox had merged into 20th Century Fox, with Darryl F. Zanuck serving as the executive producer. Dismissing Sheehan's interest in her and giving Loretta Young the lead in Ramona, Zanuck did not renew Cansino's contract. Sensing her screen potential, salesman and promoter Edward C. Judson, with whom she would elope in 1937, got freelance work for her in several small-studio films and a part in the Columbia Pictures feature Meet Nero Wolfe (1936). Studio head Harry Cohn signed her to a seven-year contract and tried her out in small roles.

Cohn argued that her image was too Mediterranean, which limited her to being cast in "exotic" roles that were fewer in number. He was heard to say her last name sounded too Spanish. Judson acted on Cohn's advice: Rita Cansino became Rita Hayworth when she adopted her mother's maiden name, to the consternation of her father. With a name that emphasized Irish-American ancestry, people were more likely to regard her as a classic "American".

With Cohn and Judson's encouragement, Hayworth changed her hair color to ginger red hair and had electrolysis to raise her hairline and broaden the appearance of her forehead.

Hayworth appeared in five minor Columbia pictures and three minor independent movies in 1937. The following year, she appeared in five Columbia B movies. In 1939, Cohn pressured director Howard Hawks to use Hayworth for a small, but important, role as a man-trap in the aviation drama Only Angels Have Wings, in which she played opposite Cary Grant and Jean Arthur.

Cohn began to build up Hayworth in 1940 in features such as Music in My Heart, The Lady in Question, and Angels Over Broadway. That year, she was first featured in a Life magazine cover story. While on loan to Warner Bros., Hayworth appeared as the second female lead in The Strawberry Blonde (1941), opposite James Cagney.

She returned in triumph to Columbia Pictures, and was cast in the musical You'll Never Get Rich (1941) opposite Fred Astaire in one of the highest-budgeted films Columbia had ever made. The picture was so successful, the studio produced and released another Astaire-Hayworth picture the following year, You Were Never Lovelier. Astaire's biographer Peter Levinson writes that the dancing combination of Astaire and Hayworth was "absolute magnetism on the screen". Although Astaire made 10 films with Ginger Rogers, his other main dancing partner, Hayworth's sensuality surpassed Rogers' cool technical expertise. "Rita's youthful exuberance meshed perfectly with Fred's maturity and elegance", says Levinson.

When Astaire was asked who his favorite dance partner was, he tried not answering the question, but later admitted it was Hayworth: "All right, I'll give you a name", he said. "But if you ever let it out, I'll swear I lied. It was Rita Hayworth." Astaire commented that "Rita danced with trained perfection and individuality ... She was better when she was 'on' than at rehearsal." Biographer Charlie Reinhart describes the effect she had on Astaire's style: "There was a kind of reserve about Fred. It was charming. It carried over to his dancing. With Hayworth there was no reserve. She was very explosive. And that's why I think they really complemented each other."

In August 1941, Hayworth was featured in an iconic Life photo in which she posed in a negligee with a black lace bodice. Bob Landry's photo made Hayworth one of the top two pin-up girls of the World War II years; the other was Betty Grable, in a 1943 photograph. For two years, Hayworth's photograph was the most requested pin-up photograph in circulation. In 2002, the satin nightgown Hayworth wore for the photo sold for $26,888.

In March 1942, Hayworth visited Brazil as a cultural ambassador for the Roosevelt administration's Good Neighbor policy, under the auspices of the Office of the Coordinator of Inter-American Affairs. During the 1940s Hayworth also contributed to the OCIAA's cultural diplomacy initiatives in support of Pan-Americanism through her broadcasts to South America on the CBS "Cadena de las Américas" radio network.

Peak years at Columbia
Hayworth had top billing in one of her best-known films, the Technicolor musical Cover Girl, released in 1944. The film established her as Columbia's top star of the 1940s, and it gave her the distinction of being the first of only six women to dance on screen with both Gene Kelly and Fred Astaire. "I guess the only jewels of my life", Hayworth said in 1970, "were the pictures I made with Fred Astaire ... And Cover Girl, too."

For three consecutive years, starting in 1944, Hayworth was named one of the top movie box-office attractions in the world. She was adept in ballet, tap, ballroom, and Spanish routines. Cohn continued to showcase Hayworth's dance talents. Columbia featured her in the Technicolor films Tonight and Every Night (1945) with Lee Bowman and Down to Earth (1947) with Larry Parks.

Her sexy, glamorous appeal was most noted in Charles Vidor's film noir Gilda (1946) with Glenn Ford, which caused censors some consternation. The role, in which Hayworth wore black satin and performed a legendary one-glove striptease, "Put The Blame On Mame", made her into a cultural icon as a femme fatale.

While Gilda was in release, it was widely reported that an atomic bomb that was scheduled to be tested at Bikini Atoll in the Pacific Ocean's Marshall Islands would bear an image of Hayworth, a reference to her bombshell status. Although the gesture was undoubtedly meant as a compliment, Hayworth was deeply offended. Orson Welles, then married to Hayworth, recalled her anger in an interview with biographer Barbara Leaming: "Rita used to fly into terrible rages all the time, but the angriest was when she found out that they'd put her on the atom bomb. Rita almost went insane, she was so angry.... She wanted to go to Washington to hold a press conference, but Harry Cohn wouldn't let her because it would be unpatriotic." Welles tried to persuade Hayworth that the whole business was not a publicity stunt on Cohn's part, that it was simply homage to her from the flight crew.

On the June 30, 1946, broadcast of Orson Welles Commentaries, Welles said of the imminent test, "I want my daughter to be able to tell her daughter that grandmother's picture was on the last atom bomb ever to explode."

The fourth atomic bomb ever to be detonated was decorated with a photograph of Hayworth cut from the June 1946 issue of Esquire magazine. Above it was stenciled the device's nickname, "Gilda" - the name of the film in which she was starring at the time - in two-inch black letters. Hayworth's performance in Welles' 1947 film The Lady from Shanghai was critically acclaimed. The film's failure at the box office was attributed in part to Hayworth's famous red hair being cut short and bleached platinum blonde for the role. Cohn had not been consulted and was furious that Hayworth's image was changed.

Also in 1947, Hayworth was featured in a Life cover story by Winthrop Sargeant that resulted in her being nicknamed "The Love Goddess". The term was adopted and used later as the title of a biopic and of a biography about her. In a 1980s interview, Hayworth said, "Everybody else does nude scenes, but I don't. I never made nude movies. I didn't have to do that. I danced. I was provocative, I guess, in some things. But I was not completely exposed."

Her next film, The Loves of Carmen (1948) with Glenn Ford, was the first film co-produced by Columbia and Hayworth's production company, The Beckworth Corporation (named for Rebecca, her daughter with Welles). It was Columbia's biggest moneymaker that year. She received a percentage of the profits from this and all her subsequent films until 1954, when she dissolved Beckworth to pay off debts.

The Hollywood princess

In 1948, at the height of her fame, Hayworth traveled to Cannes and was introduced to Prince Aly Khan. They began a year-long courtship, and were married on May 27, 1949. Hayworth left Hollywood and sailed for France, breaking her contract with Columbia.

Because Hayworth was already one of the best-known celebrities in the world, the courtship and the wedding received enormous press coverage around the world. Because she was still legally married to second husband Orson Welles during the early days of her courtship with the prince, Hayworth also received some negative backlash, causing some American fans to boycott her pictures. On December 28, 1949, Hayworth gave birth to the couple's only child, Princess Yasmin Aga Khan.

Though Hayworth was anxious to start a new life abroad, away from Hollywood, Aly Khan's flamboyant lifestyle and duties proved too difficult for Hayworth. She struggled to fit in with his friends, and found it difficult to learn French. Aly Khan was also known in circles as a playboy, and it was suspected that he had been unfaithful to Hayworth during the marriage.

In 1951, Hayworth set sail with her two daughters for New York. Although the couple did reconcile for a short time, they divorced in 1953.

Returning to Columbia
After the collapse of her marriage to Khan, Rita Hayworth was forced to return to Hollywood to star in her "comeback" picture, Affair in Trinidad (1952) which again paired her with Glenn Ford. Director Vincent Sherman recalled that Hayworth seemed "rather frightened at the approach of doing another picture". She continued to clash with Columbia boss Harry Cohn and was placed on suspension during filming. Nevertheless, the picture was highly publicized. The picture ended up grossing $1 million more than her previous blockbuster, Gilda.

She continued to star in a string of successful pictures. In 1953, she had two films released: Salome with Charles Laughton and Stewart Granger, and Miss Sadie Thompson with José Ferrer and Aldo Ray. She was off the big screen for another four years, mainly because of a tumultuous marriage to the singer Dick Haymes. During her marriage to Haymes, she was involved in much negative publicity, which significantly lessened her appeal. By the time she returned to the screen for Fire Down Below (1957) with Robert Mitchum and Jack Lemmon, Kim Novak had become Columbia's top female star. Her last musical was Pal Joey (1957) with Frank Sinatra and Novak (Hayworth had top billing in both pictures but actually played a supporting role in Pal Joey). Hayworth then left Columbia for good.

She received good reviews for her performances in Separate Tables (1958), with Burt Lancaster and David Niven, They Came to Cordura (1959) with Gary Cooper and The Story on Page One (1960). She continued working throughout the 1960s. In 1962, her planned Broadway debut in Step on a Crack was cancelled for undisclosed health reasons. In 1964 Circus World was released, in which John Wayne was her co-star and for which she received a Golden Globe nomination as Best Actress in a dramatic role. The Money Trap (1965) paired her, for the last time, with good friend Glenn Ford. She continued to act in films until the early 1970s. She made comedic television appearances on Laugh In and The Carol Burnett Show in the 1970s. Her last film was The Wrath of God (1972), a western.

Struggles with Columbia Pictures
Hayworth had a strained relationship with Columbia Pictures for many years. In 1943, she was suspended without pay for nine weeks because she refused to appear in Once Upon a Time. During this period in Hollywood, contract players could not choose their films; they were on salary rather than receiving a fixed amount per picture. In 1947, Hayworth's new contract with Columbia provided a salary of $250,000 plus 50% of films' profits. In 1951, Columbia alleged it had $800,000 invested in properties for her, including the film that she had walked out on that year. Hayworth left Hollywood to marry Prince Aly Khan and was suspended for failing to report to work on the film Affair in Trinidad. In 1952, Hayworth refused to report for work because she objected to the script. She said,

"I was in Switzerland when they sent me the script for Affair in Trinidad and I threw it across the room. But I did the picture, and Pal Joey, too. I came back to Columbia because I wanted to work and first, see, I had to finish that goddamn contract, which is how Harry Cohn owned me!'"

In 1955, she sued Columbia Pictures to be released from her contract, but asked for her $150,000 salary, alleging that the filming failed to start on Joseph and His Brethren (1961) when agreed. The film was later filmed in 1961 by a foreign company as The Story of Joseph and His Brethren (film). Cohn had a reputation as a taskmaster, but he had his own criticisms of Hayworth. He had invested heavily in her before she began an affair with the married Aly Khan, and it could have caused a backlash against her career and Columbia's success. For instance, an article in the British periodical The People called for a boycott of Hayworth's films:

"Hollywood must be told its already tarnished reputation will sink to rock bottom if it restores this reckless woman to a place among its stars.'"

Cohn expressed his frustration in a 1957 interview with Time magazine:

"Hayworth might be worth ten million dollars today easily! She owned 25% of the profits with her own company and had hit after hit and she had to get married and had to get out of the business and took a suspension because she fell in love again! In five years, at two pictures a year, at 25%! Think of what she could have made! But she didn't make pictures! She took two or three suspensions! She got mixed up with different characters! Unpredictable!'"

Years after her film career had ended and long after Cohn had died, Hayworth still resented her treatment by both him and Columbia. She spoke bluntly in a 1968 interview:

"I used to have to punch a time clock at Columbia. Every day of my life. That's what it was like. I was under exclusive contract, like they owned me ... I think he had my dressing room bugged ... He was very possessive of me as a person, he didn't want me to go out with anybody, have any friends. No one can live that way. So I fought him ... You want to know what I think of Harry Cohn? He was a monster."

Later on, in 1972 she said :

"Harry Cohn thought of me as one of the people he could exploit, and make a lot of money...And I did make a lot of money for him, but not much for me.'"

Hayworth resented the fact that the studio had failed to train her to sing or even to encourage her to learn how to sing. Although she appeared to sing in many of her films, she was usually dubbed. Because the public did not know her secret, she was embarrassed to be asked to sing by troops at USO shows.

"I wanted to study singing', Hayworth complained, 'but Harry Cohn kept saying, 'Who needs it?' and the studio wouldn't pay for it. They had me so intimidated that I couldn't have done it anyway. They always said, 'Oh, no, we can't let you do it. There's no time for that; it has to be done right now!' I was under contract, and that was it.'"

Public image
Hayworth was a top glamour girl in the 1940s, a pin-up girl for military servicemen and a beauty icon for women. At 5ft 6in and 120 lb, she was tall enough to be a concern for dancing partners such as Fred Astaire. She reportedly changed her hair color eight times in eight movies.

In 1949, Hayworth's lips were voted best in the world by the Artists League of America. She had a modeling contract with Max Factor to promote its Tru-Color lipsticks and Pan-Stik make-up.

Marriages, relationships and family
Hayworth confided to Orson Welles that her father began to sexually abuse her as a child when they were touring together as the Dancing Cansinos. Her biographer, Barbara Leaming, wrote that her mother may have been the only person to know; she slept in the same bed as her daughter to try to protect her. Leaming wrote that the abuse experienced by Hayworth as a young girl contributed to her difficulty in relationships as an adult.

In 1941, Hayworth said she was the antithesis of the characters she played: "I naturally am very shy ... and I suffer from an inferiority complex." Her provocative role in Gilda, in particular, was responsible for people expecting her to be what she was not. Hayworth once said, with some bitterness, "Men go to bed with Gilda, but wake up with me." She said, "Basically, I am a good, gentle person, but I am attracted to mean personalities."

Hayworth's two younger brothers, Eduardo Cansino Jr. and Vernon Cansino, both served in World War II. Vernon left the United States Army in 1946 with several medals, including the Purple Heart, and later married Susan Vail, a dancer. Eduardo Jr. followed Hayworth into acting; he was also under contract with Columbia Pictures. In 1950, he made his screen debut in The Great Adventures of Captain Kidd.

Hayworth was married and divorced five times. She had affairs with several of her leading men, most notably with Victor Mature in 1942, during the filming of My Gal Sal.

She had two daughters and two grandsons, one by each daughter. Her older daughter, Rebecca Welles, (1944-2004) had a son, Marc McKerrow, whom she gave birth to in 1966, and put for adoption at birth. Marc had three children, and died at age 44 as a result of complications from a nocturnal seizure related to a serious car accident that he had when he was 21 years old. Marc is featured in the 2008 documentary Prodigal Sons. Hayworth's younger daughter, Yasmin Aga Khan, had one son, Andrew Ali Aga Khan Embiricos, who died unmarried at age 25.

Edward Charles Judson
When Hayworth was 18, she married Edward C. Judson, an oilman turned promoter who was more than twice her age. They married in Las Vegas. Judson, who helped launch her acting career, was a shrewd businessman, but domineering. "He helped me with my career", Hayworth conceded after they divorced, adding "and helped himself to my money." She alleged that Judson compelled her to transfer a considerable amount of her property to him, and she promised to pay him $12,000 under threats that he would do her "great bodily harm".

Hayworth filed for divorce from him on February 24, 1942, with a complaint of cruelty. She noted to the press that his work took him to Oklahoma and Texas while she lived and worked in Hollywood. Judson was as old as her father, who was enraged by the marriage, which caused a rift between Hayworth and her parents until the divorce. Judson had failed to tell Hayworth before they married that he had previously been married twice. When she left him, she had no money; she asked her friend Hermes Pan if she could eat at his home.

Orson Welles
Hayworth married Orson Welles on September 7, 1943, during the run of The Mercury Wonder Show. None of her colleagues knew about the planned wedding (before a judge) until she announced it the day before. For the civil ceremony, she wore a beige suit, a ruffled white blouse, and a veil. A few hours after they got married, they returned to work at the studio. They had a daughter, Rebecca, who was born on December 17, 1944, and died at the age of 59 on October 17, 2004. They struggled in their marriage, with Hayworth saying that Welles did not want to be tied down: "During the entire period of our marriage, he showed no interest in establishing a home. When I suggested purchasing a home, he told me he didn't want the responsibility. Mr. Welles told me he never should have married in the first place; that it interfered with his freedom in his way of life."

On November 10, 1947, she was granted a divorce that became final the following year.

Relationship with Glenn Ford
Hayworth also had an intermittent, long-term relationship with Glenn Ford, which started during the filming of Gilda in 1945, and continued through and beyond both's numerous marriages. Their relationship is documented in the 2011 biography Glenn Ford: A Life by Ford's son, Peter Ford. Peter revealed in his book that Hayworth became pregnant during the filming of The Loves of Carmen and traveled to France to get an abortion. Ford later moved next door to her in Beverly Hills in 1960, and they continued their relationship until the early 1980s.

Prince Aly Khan
In 1948, Hayworth left her film career to marry Prince Aly Khan, a son of Sultan Mohammed Shah, Aga Khan III, the leader of the Ismaili community of Shia Islam. They were married on May 27, 1949. Her bridal trousseau was designed by Jacques Fath.

Aly Khan and his family were heavily involved in horse racing, owning and racing horses. Hayworth had no interest in the sport, but became a member of the Del Mar Thoroughbred Club anyway. Her filly, Double Rose, won several races in France and finished second in the 1949 Prix de l'Arc de Triomphe.

In 1951, while still married to Hayworth, Khan was spotted dancing with the actress Joan Fontaine in the nightclub where he and Hayworth had met. Hayworth threatened to divorce him in Reno, Nevada. In early May, Hayworth moved to Nevada to establish legal residence to qualify for a divorce. She stayed at Lake Tahoe with their daughter, saying there was a threat the child would be kidnapped. Hayworth filed for divorce from Khan on September 2, 1951, on the grounds of "extreme cruelty, entirely mental in nature".

Hayworth once said she might convert to Islam, but did not. During the custody fight over their daughter, Princess Yasmin Aga Khan, born December 28, 1949, the prince said he wanted her to be raised as a Muslim; Hayworth wanted the child to be raised as a Christian. Hayworth rejected his offer of $1 million if she would rear Yasmin as a Muslim from age seven and allow her to go to Europe to visit with him for two or three months each year, stating: "Nothing will make me give up Yasmin's chance to live here in America among our precious freedoms and habits. While I respect the Moslem faith, and all other faiths, it is my earnest wish that my daughter be raised as a normal, healthy American girl in the Christian faith. There isn't any amount of money in the entire world for which it is worth sacrificing this child's privilege of living as a normal Christian girl here in the United States. There just isn't anything else in the world that can compare with her sacred chance to do that. And I'm going to give it to Yasmin regardless of what it costs."

In January 1953, Hayworth was granted a divorce from Aly Khan on the grounds of extreme mental cruelty. Her daughter Yasmin, only three years old, played about the court while the case was being heard, finally climbing on to the judge's lap.

Dick Haymes
When Hayworth and Dick Haymes first met, he was still married and his singing career was waning. When she showed up at the clubs, he got a larger audience. Haymes was desperate for money because two of his former wives were taking legal action against him for unpaid child support. His financial problems were so bad that when he tried to return to California, he was arrested. On July 7, 1954, his ex-wife Nora Eddington got a bench warrant for his arrest, because he owed her $3,800 in alimony. Less than a week earlier, his other ex-wife, Joanne Dru, also got a bench warrant because she said he owed $4,800 in child support payments for their three children. Hayworth ended up paying most of Haymes's debts.

Haymes was born in Argentina and did not have solid proof of American citizenship. Not long after he met Hayworth, U.S. officials initiated proceedings to have him deported to Argentina for being an illegal alien. He hoped Hayworth could influence the government and keep him in the United States. When she assumed responsibility for his citizenship, a bond was formed that led to marriage. The two were married on September 24, 1953, at the Sands Hotel, Las Vegas, and their wedding procession went through the casino.

From the start of their marriage, Haymes was deeply in debt to the Internal Revenue Service (IRS). When Hayworth took time off from attending his comeback performances in Philadelphia, audiences sharply declined. Haymes's $5,000 weekly salary was attached by the IRS to pay a $100,000 bill, and he was unable to pay his pianist. Haymes's ex-wives demanded money while Hayworth publicly bemoaned her own lack of alimony from Aly Khan. At one point, the couple was effectively imprisoned in a hotel room for 24 hours in Manhattan at the Hotel Madison while sheriff's deputies waited outside, threatening to arrest Haymes for outstanding debts. At the same time, Hayworth was fighting a severe custody battle with Khan, during which she reported death threats against their children. While living in New York, Hayworth sent the children to live with their nanny in Westchester County. They were found and photographed by a reporter from Confidential magazine.

After a tumultuous two years together, Haymes struck Hayworth in the face in 1955 in public at the Cocoanut Grove nightclub in Los Angeles. Hayworth packed her bags, walked out, and never returned. The assault and crisis shook her, and her doctor ordered her to remain in bed for several days.

Hayworth was short of money after her marriage to Haymes. She had failed to gain child support from Aly Khan. She sued Orson Welles for back payment of child support, which she claimed had never been paid. This effort was unsuccessful and added to her stress.

James Hill
Hayworth began a relationship with film producer James Hill, whom she went on to marry on February 2, 1958. He put her in one of her last major films, Separate Tables. This film was popular and highly praised, although The Harvard Lampoon named her the worst actress of 1958 for her performance. On September 1, 1961, Hayworth filed for divorce, alleging extreme mental cruelty. Hill later wrote Rita Hayworth: A Memoir, in which he suggested that their marriage collapsed because he wanted Hayworth to continue making movies, while she wanted them both to retire from Hollywood.

In his autobiography, Charlton Heston wrote about Hayworth's brief marriage to Hill. One night, Heston and his wife Lydia joined the couple for dinner at a restaurant in Spain with the director George Marshall and the actor Rex Harrison, Hayworth's co-star in The Happy Thieves. Heston wrote that the occasion "turned into the single most embarrassing evening of my life", describing how Hill heaped "obscene abuse" on Hayworth until she was "reduced to a helpless flood of tears, her face buried in her hands". Heston wrote that the others sat stunned, witnesses to a "marital massacre", and, though he was "strongly tempted to slug him" (Hill), he left with his wife Lydia after she stood up, almost in tears. Heston wrote, "I'm ashamed of walking away from Miss Hayworth's humiliation. I never saw her again."

Health
Orson Welles noted Hayworth's problem with alcohol during their marriage, but he never believed that her problem was alcoholism. "It certainly imitated alcoholism in every superficial way", he recalled in 1983. "She'd fly into these rages, never at me, never once, always at Harry Cohn or her father or her mother or her brother. She would break all the furniture and she'd get in a car and I'd have to get in the car and try to control her. She'd drive up in the hills suicidally. Terrible, terrible nights. And I just saw this lovely girl destroying herself. I admire Yasmin so much."

Yasmin Aga Khan spoke of her mother's long struggle with alcohol: "I remember as a child that she had a drinking problem. She had difficulty coping with the ups and downs of the business ... As a child, I thought, 'She has a drinking problem, and she's an alcoholic.' That was very clear, and I thought, 'Well, there's not much I can do. I can just, sort of, stand by and watch.' It's very difficult, seeing your mother, going through her emotional problems and drinking and then behaving in that manner ... Her condition became quite bad. It worsened and she did have an alcoholic breakdown and landed in the hospital."

In 1972, the 54-year-old Hayworth wanted to retire from acting, but she needed money. At the suggestion of Robert Mitchum, she agreed to film The Wrath of God. The experience exposed her poor health and her worsening mental state. Because she could not remember her lines, her scenes were shot one line at a time. In November, she agreed to complete one more movie, the British film Tales That Witness Madness, but because of her worsening health, she left the set and returned to the United States. She never returned to acting.

In March 1974, both of her brothers died within a week of each other, which caused her great sadness and led to heavy drinking. In January 1976, at London's Heathrow Airport, Hayworth was removed from a TWA flight after having an angry outburst while traveling with her agent. The event attracted much negative publicity; an unflattering photograph was published in newspapers the next day. Hayworth's alcoholism hid symptoms of what was eventually understood to be Alzheimer's disease.

Yasmin Aga Khan spoke of her mother's disease: It was the outbursts. She'd fly into a rage. I can't tell you. I thought it was alcoholism – alcoholic dementia. We all thought that. The papers picked that up, of course. You can't imagine the relief just in getting a diagnosis. We had a name at last, Alzheimer's! Of course, that didn't really come until the last seven or eight years. She wasn't diagnosed as having Alzheimer's until 1980. There were two decades of hell before that.

Biographer Barbara Leaming wrote that Hayworth aged prematurely because of her addiction to alcohol and also because of the many stresses in her life. "Despite the artfully applied make-up and shoulder-length red hair, there was no concealing the ravages of drink and stress", she wrote of Hayworth's arrival in New York in May 1956 in order to begin work on Fire Down Below, her first film in three years. "Deep lines had crept around her eyes and mouth, and she appeared worn, exhausted – older than her thirty-eight years."

Alzheimer's disease had been largely forgotten by the medical community since its discovery in 1906. Medical historian Barron H. Lerner wrote that when Hayworth's diagnosis was made public in 1981, she became "the first public face of Alzheimer's, helping to ensure that future patients did not go undiagnosed ... Unbeknownst to her, Hayworth helped to destigmatize a condition that can still embarrass victims and their families."

In July 1981, Hayworth's health had deteriorated to the point that a judge in Los Angeles Superior Court ruled that she should be placed under the care of her daughter, Princess Yasmin Aga Khan of New York City. Hayworth lived in an apartment at The San Remo on Central Park West adjoining that of her daughter, who arranged for her mother's care during her final years. When asked how her mother was doing, Yasmin replied, "She's still beautiful. But it's a shell."

In 1983, Rebecca Welles arranged to see her mother for the first time in seven years. Speaking to his lifelong friend Roger Hill, Orson Welles expressed his concern about the visit's effect on his daughter. "Rita barely knows me now," Welles said. He recalled seeing Hayworth three years before at an event that the Reagans held for Frank Sinatra. "When it was over, I came over to her table, and I saw that she was very beautiful, very reposed looking, and didn't know me at first. After about four minutes of speaking, I could see that she realized who I was, and she began to cry quietly."

In an interview that he gave the evening before his death in 1985, Welles called Hayworth "one of the dearest and sweetest women that ever lived".

Political views
Hayworth was a lifelong Democrat who was an active member of the Hollywood Democratic Committee and was active in the campaign of Franklin Delano Roosevelt during the 1944 presidential election. In 1968, Hayworth was part of a Hollywood committee that endorsed Robert F. Kennedy's presidential campaign.

Religion
Hayworth was a Catholic whose marriage to Prince Aly Khan was deemed "illicit" by Pope Pius XII.

Death
Hayworth lapsed into a semicoma in February 1987. She died at age 68, from complications associated with Alzheimer's disease, on May 14, 1987, at her home in Manhattan. President Ronald Reagan, who was one of Hayworth's contemporaries in Hollywood (and who went on to also suffer from Alzheimer's in his final years), issued a statement:

"Rita Hayworth was one of our country's most beloved stars. Glamorous and talented, she gave us many wonderful moments on stage and screen and delighted audiences from the time she was a young girl. In her later years, Rita became known for her struggle with Alzheimer's disease. Her courage and candor, and that of her family, were a great public service in bringing worldwide attention to a disease which we all hope will soon be cured. Nancy and I are saddened by Rita's death. She was a friend who we will miss. We extend our deep sympathy to her family."

A funeral service was held on May 18, 1987, at the Church of the Good Shepherd. Pallbearers included actors Ricardo Montalbán, Glenn Ford, Cesar Romero, Anthony Franciosa, choreographer Hermes Pan, and a family friend, Phillip Luchenbill. She was interred at Holy Cross Cemetery, Culver City. Her headstone includes Yasmin's sentiment: "To yesterday's companionship and tomorrow's reunion."

Accolades
Hayworth received a Golden Globe nomination for Best Actress – Motion Picture Drama for her performance in Circus World (1964).

In 1978, at the Shoreham Hotel in Washington, D. C., Hayworth was presented with the inaugural National Screen Heritage Award of the National Film Society, a group that published American Classic Screen magazine (1976–1984).

In 1999, Hayworth was acknowledged as one of the top-25 greatest female stars of Classic Hollywood cinema in the American Film Institute's survey, AFI's 100 Years...100 Stars.

Legacy
The public disclosure and discussion of Hayworth's illness drew international attention to Alzheimer's disease, which was little known at the time, and it helped to greatly increase federal funding for Alzheimer's research.

The Rita Hayworth Gala, a benefit for the Alzheimer's Association, is held annually in Chicago and New York City. The program was founded in 1985 by Princess Yasmin Aga Khan, in honor of her mother. She is the hostess for the events and is a major sponsor of Alzheimer's disease charities and awareness programs. , a total of more than $72 million had been raised through events in Chicago, New York, and Palm Beach, Florida.

On October 17, 2016, a press release from the Springer Associates Public Relations Agency announced that Rita Hayworth's former manager and friend, Budd Burton Moss, initiated a campaign to solicit the United States Postal Service to issue a commemorative stamp featuring Hayworth. Springer Associates also announced that the Academy of Motion Picture Arts and Sciences would be lobbied in hopes of having an honorary Academy Award issued in memory of Hayworth. The press release added that Hayworth's daughter, Princess Yasmin Aga Khan, the Alzheimer's Association of Greater Los Angeles, and numerous prominent personalities of stage and screen were supporting the Moss campaign. The press release stated the target date for fulfillment of the stamp and Academy Award to be on October 17, 2018, the centennial of Hayworth's birth.

Cultural references
The film I Remember Better When I Paint (2009) describes how Hayworth took up painting while struggling with Alzheimer's. In 1983, Lynda Carter, who was of a similar Irish and Hispanic ancestry, played and danced as Hayworth in a TV biopic Rita Hayworth: The Love Goddess. In the Baptiste episode "Shell", Baptiste talks to Kim about Hayworth in an attempt to gain information from her about Natalie after noticing that she has several DVDs of Hayworth's films; the Dream Room has a poster of Gilda.

Hayworth's name can be heard in the Madonna hit from 1990, "Vogue", ("Rita Hayworth gave good face") among other artists from classical Hollywood cinema. Her name is also mentioned in Tom Waits's song "Invitation to the Blues", from his 1976 album Small Change.

In the Sicilian scenes of the film The Godfather, the bodyguard of Michael Corleone is heard shouting the name "Rita Hayworth" to GI's passing by in jeeps.

Hayworth is the main topic of the song, "Take, Take, Take" by the White Stripes and also referenced in "White Moon "; both from their Get Behind Me Satan album, released in 2005. In a 2005 interview with Rolling Stone, Jack White said, "Rita Hayworth became an all-encompassing metaphor for everything I was thinking about while making the album. "

The film The Shawshank Redemption was adapted from a Stephen King novella, "Rita Hayworth and Shawshank Redemption", from his 1982 collection Different Seasons. A succession of posters, starting with one of Rita Hayworth, hides a hole in a jail cell wall in the novella. In the film, a poster of Rita Hayworth was used for the first third of the film, then changed to a poster of Marilyn Monroe for the middle third, then Raquel Welch for the last third. The film also includes a scene where the prison movie night shows Rita Hayworth's film Gilda.

title: Rita Hayworth


text:
Eli

Eli most commonly refers to:
 * Eli (name), a given name, nickname and surname
 * Eli (biblical figure)

Eli or ELI may also refer to:

Film

 * Eli (2015 film), a Tamil film
 * Eli (2019 film), an American horror film

Music

 * Eli (Jan Akkerman album) (1976)
 * Eli (Supernaut album) (2006)

Places

 * Alni, Ardabil Province, Iran, also known as Elī
 * Eli, Mateh Binyamin, an Israeli settlement in the West Bank
 * Éile or Éli, a medieval kingdom in Ireland
 * Eli, Kentucky, United States
 * Eli, Nebraska, United States
 * Eli, West Virginia, United States

Other uses

 * Eli (opera), an opera by Walter Steffens
 * ELI (programming language)
 * Earth Learning Idea
 * English language institute
 * Environmental Law Institute, an American environmental law policy organization
 * European Law Institute
 * European Legislation Identifier
 * Extreme Light Infrastructure, a high energy laser research facility of the European Union
 * Eli, someone from Yale University, after Elihu Yale

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

title: Eli


text:
Outline of neuroscience

The following outline is provided as an overview of and topical guide to neuroscience:

Neuroscience is the scientific study of the structure and function of the nervous system. It encompasses the branch of biology that deals with the anatomy, biochemistry, molecular biology, and physiology of neurons and neural circuits. It also encompasses cognition, and human behavior. Neuroscience has multiple concepts that each relate to learning abilities and memory functions. Additionally, the brain is able to transmit signals that cause conscious/unconscious behaviors that are responses verbal or non-verbal. This allows people to communicate with one another.

Neurophysiology
Neurophysiology is the study of the function (as opposed to structure) of the nervous system.

 * Brain mapping
 * Electrophysiology
 * Extracellular recording
 * Intracellular recording
 * Brain stimulation
 * Electroencephalography
 * Intermittent rhythmic delta activity
 * Category: Neurophysiology
 * Category: Neuroendocrinology
 * Neuroendocrinology

Neuroanatomy
Neuroanatomy is the study of the anatomy of nervous tissue and neural structures of the nervous system.

 * Immunostaining
 * Category: Neuroanatomy

Neuropharmacology
Neuropharmacology is the study of how drugs affect cellular function in the nervous system.

 * Drug
 * Psychoactive drug
 * Anaesthetic
 * Narcotic

Behavioral neuroscience
Behavioral neuroscience, also known as biological psychology, biopsychology, or psychobiology, is the application of the principles of biology to the study of mental processes and behavior in human and non-human animals.

 * Neuroethology

Developmental neuroscience
Developmental neuroscience aims to describe the cellular basis of brain development and to address the underlying mechanisms. The field draws on both neuroscience and developmental biology to provide insight into the cellular and molecular mechanisms by which complex nervous systems develop.

 * Human brain development timeline
 * Development of the nervous system in humans
 * Prenatal development - Cognitive development
 * Aging and memory

(see also Child development - Mechanisms)

Cognitive neuroscience
Cognitive neuroscience is concerned with the scientific study of biological substrates underlying cognition, with a focus on the neural substrates of mental processes.

 * Neurolinguistics
 * Neuroimaging
 * Functional magnetic resonance imaging
 * Positron emission tomography

Systems neuroscience
Systems neuroscience is a subdiscipline of neuroscience which studies the function of neural circuits and systems. It is an umbrella term, encompassing a number of areas of study concerned with how nerve cells behave when connected together to form neural networks.

 * Neural circuit
 * Neural network (biology)
 * Neural oscillation

Molecular neuroscience
Molecular neuroscience is a branch of neuroscience that examines the biology of the nervous system with molecular biology, molecular genetics, protein chemistry and related methodologies (''ie. concerning neurotransmitters moving via physiology of synapses etc)

 * Neurochemistry
 * Nutritional neuroscience
 * Neuropeptide

[ also see Neuropharmacology above ]

Computational neuroscience
Computational neuroscience includes both the study of the information processing functions of the nervous system, and the use of digital computers to study the nervous system. It is an interdisciplinary science that links the diverse fields of neuroscience, cognitive science and psychology, electrical engineering, computer science, physics and mathematics.

 * Neural network
 * Neuroinformatic
 * Neuroengineering
 * Brain–computer interface
 * Mathematical neuroscience

Neurophilosophy
Neurophilosophy or "philosophy of neuroscience" is the interdisciplinary study of neuroscience and philosophy. Work in this field is often separated into two distinct approaches. The first approach attempts to solve problems in philosophy of mind with empirical information from the neurosciences. The second approach attempts to clarify neuroscientific results using the conceptual rigor and methods of philosophy of science.

 * Philosophy of mind
 * Neuroethics
 * Neuroscience of free will

Neurology
Neurology is the medical specialty dealing with disorders of the nervous system. It deals with the diagnosis and treatment of all categories of disease involving the central, peripheral, and autonomic nervous systems.

 * Stroke
 * Parkinson's disease
 * Alzheimer's disease
 * Huntington's disease
 * Multiple sclerosis
 * Amyotrophic lateral sclerosis
 * Rabies
 * Schizophrenia
 * Epilepsy
 * Hydrocephalus
 * Brain damage
 * Traumatic brain injury
 * Closed head injury
 * Coma
 * Paralysis
 * Level of consciousness
 * Neurosurgery

Neuropsychology
Neuropsychology studies the structure and function of the brain related to psychological processes and behaviors. The term is used most frequently with reference to studies of the effects of brain damage in humans and animals.

 * Agraphia
 * Agnosia
 * Alexia
 * Amnesia
 * Anosognosia
 * Aphasia
 * Apraxia
 * Dementia
 * Dyslexia
 * Hemispatial neglect
 * Neurobiological effects of physical exercise

Neuroevolution and neuroeconomics

 * Evolution of nervous systems
 * Neuroevolution

History of neuroscience

 * History of neuroscience
 * Neuron doctrine
 * Category: History of neuroscience

Nervous system
Outline of the human nervous system
 * Action potential
 * Acetylcholinesterase
 * Central nervous system (CNS)
 * Brain
 * Dendrite
 * Glial cells
 * List of regions in the human brain
 * Nervous system
 * Neurite
 * Neuron
 * Neuroplasticity
 * Synaptic plasticity
 * Long-term potentiation
 * Neurotransmitter
 * Acetylcholine
 * Dopamine
 * Synapse

Persons influential in the field of neuroscience

 * List of neuroscientists
 * Category: Neuroscientists

Related sciences

 * Genetics
 * Neurochemistry
 * Cognitive science
 * Psychology
 * Molecular biology
 * Psychiatry
 * Neurosurgery
 * Linguistics
 * Developmental biology
 * Biotechnology
 * Neurophilosophy

title: Outline of neuroscience


text:
User talk:GUllman/List of books

I did a couple of book articles you might want to add (Red Badge of Courage, Prince and the Pauper'', etc.). See my page for details. Danny

why did you miss The Wonderful Wizard of Oz?

I didn't. I added it on Aug 23, 2003, before you posted this message. GUllman 23:44, 25 Mar 2004 (UTC)

title: User talk:GUllman/List of books


text:
Talk:Gravity assist

Saturn example
For the record, the Saturn example was somewhat imprecise. It claimed the delta-v for the Hohmann transfer from Earth to Saturn is 15.7 km/s. However, this figure disregards two effects that alter the situation drastically:
 * 1) The planets' own gravity.  To get from a low-Earth orbit to a low-Saturn orbit actually requires about 18 km/s.
 * 2) Aerobraking.  Upon arriving at Saturn, it's only necessary to alter the spacecraft's orbit around Saturn from a hyperbola to an ellipse with a periapsis passing through Saturn's atmosphere; after that, subsequent passes through periapsis will circularize the orbit.  Taking this into account leads to a delta-v more like 10 km/s.

I added "disregarding Earth's and Saturn's own gravity wells". (I forgot to mention aerobraking, but I figure that's not worth disrupting the flow of the sentence any more than I already have.) --Doradus 21:09, Jun 18, 2005 (UTC)

 * For clarity, it ought to be a comparion of the same mission flown with and without the slingshot. What happens at the destination should be the same, whether it's a flyby, braking into orbit with a rocket, or aerobraking. Since the paragraph uses Cassini as an example, what would the total delta-V be, going directly to the same orbit around Saturn? The cited 2 km/s figure obviously doesn't include Cassini's intial boost.
 * —wwoods 00:04, 19 Jun 2005 (UTC)

Question on powered slingshot
Under the section Powered slingshots, does the last sentence of the first paragraph make sense? "The extra energy comes from the propellant being "left behind" in the planet's gravity well." ~ Rollo44 15:02, 9 February 2007 (UTC)
 * No, it's nonsense. If that were true they could just dump some propellant to "leave it behind" - Rod57 (talk) 14:56, 29 November 2019 (UTC)

Error in the lead? No

 * to decelerate a spacecraft (useful when traveling to an inner planet) or accelerate a spacecraft (useful when traveling to an outer planet).

I have always thought it should be vice versa, the inner planets are traveling much faster than the outer. (Igny (talk) 16:26, 6 October 2008 (UTC))

 * All explained in, eg. Hohmann transfer. You slow down to drop your perihelion or shrink the orbit. You speed up to raise your aphelion or expand the orbit. - Rod57 (talk) 14:47, 29 November 2019 (UTC)

Data/source for animations?
What is the data and/or source of the data for the animations of the satellite launches? The animations are very pretty but they are not cited or defined in any way. BigBadAlgae (talk) 11:42, 29 March 2020 (UTC)BigBadAlgae

Regarding the animations, a tick-mark per frame (or every N frame) could visually emphasize the speed change, because the distance between ticks would change. --146.233.255.212 (talk) 17:42, 29 August 2022 (UTC)

Orphaned references in Gravity assist
I check pages listed in Category:Pages with incorrect ref formatting to try to fix reference errors. One of the things I do is look for content for orphaned references in wikilinked articles. I have found content for some of Gravity assist's orphans, the problem is that I found more than one version. I can't determine which (if any) is correct for this article, so I am asking for a sentient editor to look it over and copy the correct ref content into this article.

Reference named "PionOdys": From Pioneer 10:  From Pioneer 11:

I apologize if any of the above are effectively identical; I am just a simple computer program, so I can't determine whether minor differences are significant or not. AnomieBOT ⚡ 02:22, 18 April 2021 (UTC)

And Ulsses?
OK, momentum from the planet's orbital movement is transferred to the spacecraft. This means: if the planet stood still (sun reference frame) gravity assist would not work. However: how then could Jupiter be used to shoot Ulysses out of the ecliptic plane? Jupiter's orbit has no component perpendicular to the ecliptic plane. Or was is just a deviation with the absolute value of Ulysses's velocity unchanged? If so, why didn't they shoot Ulyssed off the plane right away? -- Wassermaus (talk) 07:08, 6 May 2021 (UTC)

 * Jupiter's orbit is slightly inclined to Earth's elliptical plane by about 1.3° degrees.
 * Shooting the spacecraft off the plane would have required a much bigger rocket than the Space Shuttle.
 * For the calculations involved, see here, p. 10.
 * Hawkeye7  (discuss)  09:26, 6 May 2021 (UTC)

 * Jupiter doesn't need any velocity component perpendicular for this to work. Ulysses and Jupiter had zero velocity perpendicular to the ecliptic before the encounter (well, nearly zero). After the encounter, Ulysses had a sizable northward velocity, and Jupiter has a very small southward velocity.

Vz_Jupiter = - Vz_Ulysses * (m_Ulysses/m_Jupiter) So momentum was conserved and exchanged between Ulysses and Jupiter. Fcrary (talk) 17:30, 6 May 2021 (UTC)

Too much irrelevant detail
Too much irrelevant detail in the summary of Voyager 1 & 2 (and maybe other missions). Only the details of the trajectory and gravity assist are needed in this article ? - Rod57 (talk) 19:52, 26 September 2021 (UTC)

Incorrect Derivation
I removed the section "Derivation" as it was incorrect.

The elastic collision equations used in the section were for a one-dimensional space. A flyby in a one-dimensional space will result in a big "splotch", that is a crash with no bouncing back :)

You should not expect an elastic collision between a spacecraft and a planet/star if they really come in contact. The beauty of gravity assist is that is the spacecraft seems to "bounce" off the planet/star without ever coming in contact.

Nor should you expect to be able to plot the trajectory of a spacecraft with just equations for the conservation of linear momentum and kinetic energy without solving differential equations or using parabolic/hyperbolic trajectories (which are derived from solving differential equations).

The derivation for a simplified two-dimensional space gravity assist (where all relevant vectors lie in the same two-dimensional plane) is not difficult. Approximate the planet's path during the flyby to be a straight line, with a velocity u2. Then change the inertial frame so that the planet is stationary. A flyby where the spacecraft is not captured by the planet providing the gravity assist has a parabolic or hyperbolic trajectory (both of which are symmetric) in this inertial frame. The component of velocity of the spacecraft along the axis of the planet's travel prior to the flyby increases from u11 to u11 + u2 as you change the inertial frame.

Therefore, the *magnitudes* of the two components of velocity after the flyby by symmetry will be: v11 = u11 + u2 and v21 = u21 in the changed inertial frame (at the same distance from the vertex), and v11 = u11 + 2*u2 and v21 = u21 in the original inertial frame (where the planet was traveling with a velocity of magnitude u2).

The deleted section mistakenly ignored v21 = u21 (the component of velocity orthogonal to the planet's velocity) etc.

Also note that the kinetic energy of the spacecraft of mass m after the flyby will be (1/2)*m*((u11 + 2*u2)^2 + u21^2) compared to (1/2)*m*(u11^2 + u21^2) prior to the flyby.

I will add the above to the article when I have the time. If someone else wants to add it, please do so.

JS (talk) 21:24, 4 October 2022 (UTC)

 * I think this section should be restored. The one dimensional case is an intuitive illustration of the basic principle. That's useful even it it doesn't capture the true, two-dimensional nature of a flyby. We should, however, add text to the effect that the true process is two dimensional, and this is just an illustration. Fcrary (talk) 21:39, 6 October 2022 (UTC)
 * I think the basic idea of a gravity flyby is how a planet/star may provide momentum and kinetic energy to a spacecraft without ever having come in contact with it.
 * Giving an example where the spacecraft actually crashes into the planet and then bounces off is rather misleading in my opinion. Another aspect of a gravity assist is the variable acceleration that the spacecraft experiences as the distance from the planet/star changes. This requires calculus to analyze and is missed in the elastic collision example.
 * However, if no one is ready to spend the time to add a two-dimensional section, and you feel the deleted section is better than no section at all, then please restore it.
 * The simplified two-dimensional case is not hard to explain (in the real world it will really be three-dimensional), and does capture the mechanism of momentum and kinetic energy transfer to a spacecraft without contact. I have already provided the "derivation" in my post above, but it needs to be more "formal".
 * If later I can add the two-dimensional section I will add it and remove the one-dimensional section. It may take a bit of time as I have other things going on, and I have worked this out myself so I do not have any references handy.
 * Best,
 * JS (talk) 04:37, 7 October 2022 (UTC)

Is this super-villainy subplot really warranted in the article?
> Another potential application of gravity assist is alteration of the Earth's orbital distance from the Sun to reduce increasing global temperatures.

Thus paragraph sounds like a mad scientist running amok. Firstly, a civilization capable of such a grand feat would have already mastered controlled thermonuclear fusion and tapping of Casimir-vacuum for clean energy and thus need not worry about AGW. On the other hand, significantly displacing Earth and Moon within the Solar System might make other planets deviate as a side-effect and maybe end with a collision of (AGW-free) Earth and a perturbed asteroid, exterminating all life... 78.131.76.69 (talk) 20:15, 15 December 2022 (UTC)

'space itself is dragged at the speed of light in the same direction as the black hole's spin'???
Not sure this is correct: 'General relativity predicts that a spinning black hole is surrounded by a region of space, called the ergosphere, within which standing still (with respect to the black hole's spin) is impossible, because .'

I think that would only be the case in the limit where the black hole is spinning so fast it can't grow anymore, and in all other cases, a spinning black hole would cause the space around it to spiral inwards rather than moving in exactly circular motion. 125.253.110.41 (talk) 06:45, 21 August 2023 (UTC)

title: Talk:Gravity assist


text:
Elohim

Elohim (אֱלֹהִים: ), the plural of אֱלוֹהַּ (ʾĔlōah), is a Hebrew word meaning "gods" or "godhood". Although the word is grammatically plural, in the Hebrew Bible it most often takes singular verbal or pronominal agreement and refers to a single deity, particularly the God of Israel. In other verses it refers to the singular gods of other nations or to deities in the plural.

Morphologically, the word is the plural form of the word eloah and related to el. It is cognate to the word 'l-h-m which is found in Ugaritic, where it is used as the pantheon for Canaanite gods, the children of El, and conventionally vocalized as "Elohim". Most uses of the term Elohim in the later Hebrew text imply a view that is at least monolatrist at the time of writing, and such usage (in the singular), as a proper title for Deity, is distinct from generic usage as elohim, "gods" (plural, simple noun).

Rabbinic scholar Maimonides wrote that Elohim "Divinity" and elohim "gods" are commonly understood to be homonyms. One modern theory suggests that the notion of divinity underwent radical changes in the early period of Israelite identity and development of Ancient Hebrew religion. In this view, the ambiguity of the term elohim is the result of such changes, cast in terms of "vertical translatability", i.e. the re-interpretation of the gods of the earliest recalled period as the national god of monolatrism as it emerged in the 7th to 6th century BCE in the Kingdom of Judah and during the Babylonian captivity, and further in terms of monotheism by the emergence of Rabbinical Judaism in the 2nd century CE. Another theory, building on an idea by Gesenius, argues that even before Hebrew became a distinct language, the plural elohim had both a plural meaning of "gods" and an abstract meaning of "godhood" or "divinity", much as the plural of "father", avot, can mean either "fathers" or "fatherhood". Elohim then came to be used so frequently in reference to specific deities, both male and female, domestic and foreign (for instance, the goddess of the Sidonians in 1 Kings 11:33), that it came to be concretized from meaning "divinity" to meaning "deity", though still occasionally used adjectivally as "divine".

Grammar and etymology
The word elohim or 'elohiym (ʼĕlôhîym) is a grammatically plural noun for "gods" or "deities" or various other words in Biblical Hebrew.

In Hebrew, the ending -im normally indicates a masculine plural. However, when referring to the Jewish God, Elohim is usually understood to be grammatically singular (i.e., it governs a singular verb or adjective). In Modern Hebrew, it is often referred to in the singular despite the -im ending that denotes plural masculine nouns in Hebrew.

It is generally thought that Elohim is derived from eloah,     the latter being an expanded form of the Northwest Semitic noun 'il. The related nouns eloah (אלוה) and el (אֵל) are used as proper names or as generics, in which case they are interchangeable with elohim. The term contains an added heh as third radical to the biconsonantal root. Discussions of the etymology of elohim essentially concern this expansion. An exact cognate outside of Hebrew is found in Ugaritic ʾlhm, the family of El, the creator god and chief deity of the Canaanite pantheon, in Biblical Aramaic ʼĔlāhā and later Syriac Alaha ("God"), and in Arabic ʾilāh ("god, deity") (or Allah as "The [single] God"). "El" (the basis for the extended root ʾlh) is usually derived from a root meaning "to be strong" and/or "to be in front".

Canaanite religion
The word el (singular) is a standard term for "god" in Aramaic, paleo-Hebrew, and other related Semitic languages including Ugaritic. The Canaanite pantheon of gods was known as  ' ilhm, the Ugaritic equivalent to elohim. For instance, the Ugaritic Baal Cycle mentions "seventy sons of Asherah". Each "son of god" was held to be the originating deity for a particular people (KTU 2 1.4.VI.46).

Usage
Elohim occurs frequently throughout the Torah. In some cases (e.g.,, "Elohim called unto him out of the midst of the bush ..."), it behaves like a singular noun in Hebrew grammar and is then generally understood to denote the single God of Israel. In other cases, elohim acts as an ordinary plural of the word eloah and refers to the polytheistic notion of multiple gods (for example,, "You shall have no other gods before me").

The word Elohim occurs more than two thousand five hundred times in the Hebrew Bible, with meanings ranging from "gods" in a general sense (as in, where it describes "the gods of Egypt"), to specific gods (the frequent references to Yahweh as the "elohim" of Israel), to seraphim, and other supernatural beings, to the spirits of the dead brought up at the behest of King Saul in , and even to kings and prophets (e.g., ). The phrase bene elohim, translated "sons of the Gods", has an exact parallel in Ugaritic and Phoenician texts, referring to the council of the gods.

Elohim occupy the seventh rank of ten in the medieval rabbinic scholar Maimonides' Jewish angelic hierarchy. Maimonides wrote: "I must premise that every Hebrew [now] knows that the term Elohim is a homonym, and denotes God, angels, judges, and the rulers of countries ..."

With plural verb
In the Hebrew Bible,, elohim is used with a plural verb. The witch of Endor tells Saul that she saw elohim ascending (olim עֹלִים, plural verb) out of the earth when she summoned the spirit of the Prophet Samuel at Saul's request. The word elohim, in this context, can refer to spirits as well as deities. Some traditional Jewish sources say that the spirits of deceased human beings are being referred to. The Babylonian Talmud states: "olim indicates that there were two of them. One of them was Samuel, but the other, who was he? – Samuel went and brought Moses with him." Rashi gives this interpretation in his commentary on the verse. Regarding this, Sforno states that "every disembodied creature is known as elohim; this includes the soul of human beings known as [the] 'Image of God'."

In, Abraham, before the polytheistic Philistine king Abimelech, says that "Elohim (translated as 'God') caused (התעו, plural verb) me to wander". Whereas the Greek Septuagint (LXX) has a singular verb form (ἐξήγαγε(ν), aorist II), most English versions usually translate this as "God caused" (which does not distinguish between a singular and plural verb). Regarding this, the Jerusalem Talmud states: "All Names written regarding our father Abraham are holy [i.e., referring to the one God] except one which is profane, it was when the gods made me err from my father's house. But some say this one also is holy, [i.e.,] 'were it not for God, they [humans] already would have made me err'." The same disagreement appears in Tractate Soferim, where Haninah ben Ahi R. Joshua maintained that the word is "holy". An alternative view (held by Onkelos, Bahya ben Asher, Jacob ben Asher, Sforno, and Rabbi Yaakov Tzvi Mecklenburg) is that the word means "gods" and the verse means that Abraham's distaste for the idolatry of his father Terah led him to decide to wander far from home. Others, such as Chizkuni, interpret elohim as a reference to wicked rulers like Amraphel (often equated with Nimrod).

In, Jacob builds an altar at El-Bethel "because there elohim revealed himself [plural verb] to [Jacob]". The verb niglu ("revealed himself") is plural, even though one would expect the singular. This is one of several instances where the Bible uses plural verbs with the name elohim. Some Jewish sources (e.g., Targum Jonathan, Ibn Ezra, add Chizkuni), seeking to explain the plural language of Genesis 35:7, translate elohim here as "angels", noting that in the story being referenced Jacob experiences a vision of malakhei elohim (angels of God) ascending and descending the ladder. Radak agrees that this is a reference to angels but also presents the alternative view that the plural form in the verse is a majestic plural, as seen in other verses such as and. Elohim can be seen used in reference to the angels in a variety of other cases, such as in and.

With singular verb
Elohim, when meaning the God of Israel, is mostly grammatically singular, and is commonly translated as "God", and capitalised. For example, in, it is written: "Then Elohim (translated as God) said (singular verb), 'Let us (plural) make (plural verb) man in our (plural) image, after our (plural) likeness. In the traditional Jewish understanding of the verse, the plural refers to God taking council with His angels (who He had created by this point) before creating Adam. It should also be noted that in the following verse of Genesis 1:27: "So God created man in his [own] image, in the image of God He created him; male and female He created them"; the singular verb בָּרָא (bārāʾ), meaning "He created" is used as it is elsewhere in all the acts of creation featured in Genesis. This shows us that the actual creation of man (and everything else) in Genesis was a singular act by God alone.

Wilhelm Gesenius and other Hebrew grammarians traditionally described this as the pluralis excellentiae (plural of excellence), which is similar to the pluralis majestatis (plural of majesty, or "Royal we"). Gesenius comments that the singular Hebrew term Elohim is to be distinguished from elohim used to refer to plural gods, and remarks that:

"The supposition that אֱלֹהִים (elohim) is to be regarded as merely a remnant of earlier polytheistic views (i.e. as originally only a numerical plural) is at least highly improbable, and, moreover, would not explain the analogous plurals (see below). That the language has entirely rejected the idea of numerical plurality in אֱלֹהִים (whenever it denotes one God), is proved especially by its being almost invariably joined with a singular attribute (cf. §132h), e.g. אֱלֹהִים צַדִּיק, &c. Hence אֱלֹהִים may have been used originally not only as a numerical but also as an abstract plural (corresponding to the Latin numen, and our Godhead), and, like other abstracts of the same kind, have been transferred to a concrete single god (even of the heathen).

To the same class (and probably formed on the analogy of אֱלֹהִים) belong the plurals קְדשִׁים (kadoshim), meaning the Most Holy (only of Yahweh,, , – cf. אֱלֹהִים קְדשִׁים elohiym kadoshim in and the singular Aramaic עֶלְיוֹנִין the Most High, , , ); and probably תְּרָפִים (teraphim) (usually taken in the sense of penates), the image of a god, used especially for obtaining oracles. Certainly in, only one image is intended; in most other places a single image may be intended; in  alone is it most naturally taken as a numerical plural."

There are a number of notable exceptions to the rule that Elohim is treated as singular when referring to the God of Israel, including, , and , and notably the epithet of the "Living God" ( etc.), which is constructed with the plural adjective, Elohim ḥayyim (אלהים חיים) but still takes singular verbs. The treatment of Elohim as both singular and plural is, according to Mark Sameth, consistent with a theory put forth by Guillaume Postel (16th century) and Michelangelo Lanci (19th century) that the God of Israel was understood by the ancient priests to be a singular, dual-gendered deity.

In the Septuagint and New Testament translations, Elohim has the singular ὁ θεός even in these cases, and modern translations follow suit in giving "God" in the singular. The Samaritan Torah has edited out some of these exceptions.

Angels and judges
In a few cases in the Greek Septuagint (LXX), Hebrew elohim with a plural verb, or with implied plural context, was rendered either angeloi ("angels") or to kriterion tou Theou ("the judgement of God"). These passages then entered first the Latin Vulgate, then the English King James Version (KJV) as "angels" and "judges", respectively. From this came the result that James Strong, for example, listed "angels" and "judges" as possible meanings for elohim with a plural verb in his Strong's Concordance, and the same is true of many other 17th–20th century reference works. Both Gesenius' Hebrew Lexicon and the Brown–Driver–Briggs Lexicon list both "angels" and "judges" as possible alternative meanings of elohim with plural verbs and adjectives.

Gesenius and Ernst Wilhelm Hengstenberg have questioned the reliability of the Septuagint translation in this matter. Gesenius lists the meaning without agreeing with it. Hengstenberg stated that the Hebrew Bible text never uses elohim to refer to "angels", but that the Septuagint translators refused the references to "gods" in the verses they amended to "angels".

The Greek New Testament (NT) quotes in Hebrews 2:6b-8a, where the Greek NT has ἀγγέλους (angelous) in vs. 7, quoting  (8:6 in the LXX), which also has ἀγγέλους in a version of the Greek Septuagint. In the KJV, elohim (Strong's number H430) is translated as "angels" only in Psalm 8:5.

The KJV translates elohim as "judges" in ; Exodus 22:8; twice in Exodus 22:9 as "judge" in 1 Samuel 2:25, and as "gods" in Exodus 22:28, Psalm 82:1, Psalm 82:6, Psalm 95:3, Psalm 96:4, Psalm 97:9, and Psalm 138:1.

Angels cited in the Hebrew Bible and external literature often contain the related noun ʾĒl (אֵל) in their theophoric names such as Michael and Gabriel.

Other plural-singulars in biblical Hebrew
The Hebrew language has several nouns with -im (masculine plural) and -oth (feminine plural) endings which nevertheless take singular verbs, adjectives and pronouns. For example, Baalim, Adonim, Behemoth. This form is known as the "honorific plural", in which the pluralization is a sign of power or honor. A very common singular Hebrew word with plural ending is the word achoth, meaning sister, with the irregular plural form achioth.

Alternatively, there are several other frequently used words in the Hebrew language that contain a masculine plural ending but also maintain this form in singular concept. The major examples are: Sky/Heavens (שמים shamayim), Face (פנים panim), Life (חיים - chayyim), Water (מים mayim). Of these four nouns, three appear in the first sentence of Genesis (along with elohim). Three of them also appear in the first sentence of the Eden creation story (also along with elohim). Instead of "honorific plural" these other plural nouns terms represent something which is constantly changing. Water, sky, face, life are "things which are never bound to one form".

The Divine Council
"God standeth in the congregation of the mighty; he judgeth among the gods. ...

I have said, Ye [are] gods; and all of you [are] children of the most High.

But ye shall die like men, and fall like one of the princes."

Marti Steussy, in Chalice Introduction to the Old Testament, discusses: "The first verse of Psalm 82: 'Elohim has taken his place in the divine council.' Here elohim has a singular verb and clearly refers to God. But in verse 6 of the Psalm, God says to the other members of the council, 'You [plural] are elohim.' Here elohim has to mean gods."

Mark Smith, referring to this same Psalm, states in God in Translation: "This psalm presents a scene of the gods meeting together in divine council ... Elohim stands in the council of El. Among the elohim he pronounces judgment: ..."

In Hulsean Lectures for..., H. M. Stephenson discussed Jesus' argument in concerning. (In answer to the charge of blasphemy Jesus replied:) "Is it not written in your law, I said, Ye are gods. If he called them gods, unto whom the word of God came, and the scripture cannot be broken; Say ye of him, whom the Father hath sanctified, and sent into the world, Thou blasphemest; because I said, I am the Son of God?" – "Now what is the force of this quotation 'I said ye are gods.' It is from the Asaph Psalm which begins 'Elohim hath taken His place in the mighty assembly. In the midst of the Elohim He is judging.

Sons of God
The Hebrew word for "son" is ben; plural is bānim (with the construct state form being "benei"). The Hebrew term benei elohim ("sons of God" or "sons of the gods") in compares to the use of "sons of gods" (Ugaritic: b'n il) sons of El in Ugaritic mythology. Karel van der Toorn states that gods can be referred to collectively as bene elim, bene elyon, or bene elohim.

Elohist

The Hebrew Bible uses various names for the God of Israel. According to the documentary hypothesis, these variations are the products of different source texts and narratives that constitute the composition of the Torah: Elohim is the name of God used in the Elohist (E) and Priestly (P) sources, while Yahweh is the name of God used in the Jahwist (J) source. Form criticism postulates the differences of names may be the result of geographical origins; the P and E sources coming from the North and J from the South. There may be a theological point, that God did not reveal his name, Yahweh, before the time of Moses, though Hans Heinrich Schmid showed that the Jahwist was aware of the prophetic books from the 7th and 8th centuries BCE.

The Jahwist source presents Yahweh anthropomorphically: for example, walking through the Garden of Eden looking for Adam and Eve. The Elohist source often presents Elohim as more distant and frequently involves angels, as in the Elohist version of the tale of Jacob's Ladder, in which there is a ladder to the clouds, with angels climbing up and down, with Elohim at the top. In the Jahwist version of the tale, Yahweh is simply stationed in the sky, above the clouds without the ladder or angels. Likewise, the Elohist source describes Jacob wrestling with an angel.

The classical documentary hypothesis, first developed in the late 19th century among biblical scholars and textual critics, holds that the Jahwist portions of the Torah were composed in the 10th-9th century BCE and the Elohist portions in the 9th-8th century BCE,  i.e. during the early period of the Kingdom of Judah. This, however, is not universally accepted as later literary scholarship seems to show evidence of a later "Elohist redaction" (post-exilic) during the 5th century BCE which sometimes makes it difficult to determine whether a given passage is "Elohist" in origin, or the result of a later editor.

Latter Day Saint movement
In the Latter Day Saint movement and Mormonism, Elohim refers to God the Father. Elohim is the father of Jesus in both the physical and the spiritual realms, whose name before birth is said to be Jehovah.

In the belief system held by the Christian churches that adhere to the Latter Day Saint movement and most Mormon denominations, including the Church of Jesus Christ of Latter-day Saints (LDS Church), the term God refers to Elohim (the Eternal Father), whereas Godhead means a council of three distinct gods: Elohim (God the Father), Jehovah (the Son of God, Jesus Christ),  and the Holy Ghost, in a non-trinitarian conception of the Godhead. In Mormonism, the three persons are considered to be physically separate beings, or personages, but united in will and purpose; this conception differs significantly from mainline Christian trinitarianism. As such, the term Godhead differs from how it is used in mainstream Christianity. This description of God represents the orthodoxy of the LDS Church, established early in the 19th century.

The Book of Abraham, a sacred text accepted by some branches of the Latter Day Saint movement, contains a paraphrase of the first chapter of Genesis which explicitly translates Elohim as "the Gods" multiple times; this is suggested by Mormon apostle James E. Talmage to indicate a "plurality of excellence or intensity, rather than distinctively of number," in contrast to his contemporary apostle Orson F. Whitney's explanation that, while to "the modern Jew [Elohim] means the plural of majesty, not of number...to the Latter-day Saint it signifies both."

Raëlism
The new religious movement and UFO religion International Raëlian Movement, founded by the French journalist Claude Vorilhon (who later became known as "Raël") in 1974, claims that the Hebrew word Elohim from the Book of Genesis actually means “those who came from the sky” and refers to a species of extraterrestrial aliens.

Gnosticism
In the Gnostic text known as the Secret Book of John, Elohim is another name for Abel, whose parents are Eve and Yaldabaoth. He rules over the elements of water and earth, alongside Cain, who is seen as Yahweh ruling over the elements of fire and wind. However, the 2nd century Gnostic teacher Justin proposed a cosmological model with three original divinities. The first is a transcendental being called the Good, the second is Elohim, appearing here as an intermediate male figure, and the third is an Earth-mother called Eden. The world along with the first humans are created from the love between Elohim and Eden, but when Elohim learns about the existence of the Good above him and ascends trying to reach it, he causes evil to enter the universe.

title: Elohim


text:
User:Kaare

My name is Kåre Thor Olsen (Kaare) and I'm from Odense in Denmark. In real life I'm a systems developer. Please see my home page for more information about me.

On the English language version of Wikipedia I mainly update articles related to Denmark and add interwiki links, but my interests are widespread and I may occasionally be active elsewhere (see my contributions). Otherwise I spend most of my wiki-time on the Danish language version of Wikipedia.

If you need to get in touch with me, please either use my English or Danish talk page. For the best results write in English, Danish, Norwegian, Swedish, or German. You may also contact me on IRC (freenode and OFTC), where my nick, surprisingly, is Kaare.

I have contributed a number of images to Commons, here are my two images from Georgia in the United States:

da:bruger:Kaare de:Benutzer:Kaare es:Usuario:Kaare fr:Utilisateur:Kaare fo:User:Kaare kl:User:Kaare no:Bruker:Kaare nn:User:Kaare pt:Usuário:Kaare sv:Användare:Kaare

title: User:Kaare


text:
Talk:Bulgarian language

Number of speakers
The current version of the article gives the number of native speakers in the infobox as ranging between 8 and 9 million. The bigger number is followed by four sources. I've been able to see three of them, and they all mention this number in passing (from what I can see, the fourth source isn't going to be any different). Where has that number come from? It's miles away from anything you can see in recent censuses. The closest thing is the total population of Bulgaria in 1985 – 8.95 million. A substantial proportion of those were native speakers of other languages, but given the dominance of Bulgarian in education and the public sphere, it's reasonable to assume that this is also the number of people at the time who spoke Bulgarian, as either first or second language (the number of Bulgarian speakers abroad at that time I assume to have been negligible, apart from probably about 0.2m in Bessarabia and Banat). What proportion of them were native speakers? Definitely somewhere below 8m (in the 1992 census, the ethnic Bulgarians were 7.2m, so this is probably closest to the mark).

Given that for the 35 years since then the demographic trends have been steadily pulling down (with low birth rates, and high emigration, it appears unlikely that this number could have remained unchanged. Look at the latest census, of 2011. Only 5.66m people declared their language as Bulgarian. That's a lower bound though, as not all respondents answered the language question. If you include those who did not – then the number of native speakers in Bulgaria will be at most 6.4m (probably well below this number, as members of linguistic minorities are much more likely to refuse to provide an answer). Of course, the picture is more complicated now because of the substantial diaspora. Whatever their exact numbers, we can be certain that they will not help add up to to more than the numbers at the end of the 80s, and the totals are in fact going to be lower because of the negative growth in Bulgaria and the inevitable instances of language shift for those abroad. All in all, any number bigger than about 7m is most likely an overestimate.

We've seen then that the 9m figure for native speakers is bogus. How about the 8m cited to Ethnologue? Last year's edition gives the exact number as 8,144,880. Unfortunately, it's not clear exactly how it has been arrived at. The same page gives the speakers in Bulgaria as 6,840,000, citing "European Commission 2012". Again, it's not clear what document this is, but I'd assume it's this Eurobarometer survey report. It was conducted at more or less the same time as the 2011 Census, but it reports about a million more speakers. Given that it's based on an inevitably small sample size, it can safely be discarded in favour of the census figure. Ethnologue also estimates the number of speakers in Turkey at 358,000. This is also dubious. This looks like a fair representation for the number of Bulgarian citizens in Turkey, but the overwhelming majority of them are ethnic Turks, and so only speak Bulgarian as L2, if at all. Such a high figure also clashes with the statistics I've come across for Turkey where the relevant category is "Balkan languages" (so presumably including Bulgarian and others), and it only covers 0.23% of the country's 82 million people. All in all, the Ethnologue figure of 8.14m is also then an overestimate, probably around 1m off the mark.

Is there anything obvious I've missed above? Do we really have no sources here that are any good? – Uanfala (talk) 01:39, 22 October 2020 (UTC

I agree with you, the number is most likely lower but the issue is how low? We need reliable sources for the updated number. --StoyanStoyanov80 (talk) 12:37, 22 October 2020 (UTC)
 * What I can add here is the number of the Pomaks in Turkey and Greece, which is ca. 500,000. Most of them have as a home language different Bulgarian dialects. Jingiby (talk) 04:04, 29 October 2020 (UTC)
 * Native speaker is a term that's not related to ethnicity or country. A native speaker is someone who speaks the language since early childhood, so currently, there are about 7 mln people in Bulgaria that are native speakers of Bulgarian (the immigrants' number in Bulgaria is very low). In 2001 the population of Bulgaria was about 8 mln i.e. -1 million for 10 years - mostly due to emigration. These people remain native speakers of Bulgarian, even if they live abroad. I think that based on the sources and the facts we can assume that they are about 9 million. --StanProg (talk) 16:28, 2 November 2020 (UTC)
 * Well, native speaker here usually means first-language speaker. A child brought up by Turkish-speaking parents in Bulgaria will count as a native speaker of Turkish, even though it may happen that they will predominantly use Bulgarian in their life and so have higher competence in it than it Turkish. Similarly for someone raised by Bulgarian parents in the US – they will likely be preferential users of English in most of their daily life, but they would still count as native speakers of Bulgarian, not English.  The problem with the 9 million figure is that it represents the total number of L1 + L2 speakers, and that it's accurate only as of the 1980s: it doesn't take into account the inevitable language loss since then. – Uanfala (talk) 17:24, 21 November 2020 (UTC)

Outside Bulgaria, Ethn. gives "389,000 in Germany (2020 census), based on nationality", "131,000 in Ukraine (2001 census)", "117,000 in Spain (2020 census), based on nationality", and "395,000 in Turkey (2019). 98% Pomak (Leclerc 2014c)." As of today (I don't know how often he updates), Leclerc lists among the languages of Turkey "Pomaques - 351 000 - 0,4 % - bulgare (pomaque) - langue slave - islam sunnite." It's not clear if that's the ethnic or speaker population. He gives 7.15M "population locale" for Bulgarian, which I assume means in Bulgaria since the figure is in the section is on languages official in a single state. Given that he has 7.2M for the pop of the country, that would indeed seem to be L1 + L2, unless perhaps nearly everyone is at least natively bilingual these days and so counts as L1. Under Bulgaria itself, he has the pop "7,1 millions (2016)", with "Groupe majoritaire: bulgare (84,3 %)." That sounds like ethnicity, and minorities could've switched, but lower down he says "Bien que plus de 84 % des Bulgares parlent la langue officielle ou l'une de ses variétés," which makes it sound like the speaker population.

But Leclerc also states in his intro that he based his figures on Ethn. 16, and the figures in E16 are pretty close to the above. (You can see it here. It sounds like he may take the %ages from E16 and then apply them to the population figures in more recent censuses. So we could be going in circles -- wouldn't be the first time Ethn. cited someone who based their figures on an older edition of Ethn. E16, for those who don't want to look it up, has a pop of 9M total, including 8M in Bulgaria dated to 1986. — kwami (talk) 06:25, 11 March 2022 (UTC)

 * I asked Ethnologue the question: https://www.ethnologue.com/contribution/704971#comment-13516
 * They mention 6,840,000 speakers in Bulgaria (almost 100% of the population). But that's L1+L2. And the global estimate of 8,280,790 is for "Total users". So again L1+L2.
 * All estimates seem correct. With the exception of Turkey (395,000 L1+L2 speakers) that may be too high. That being said, even 8,280,790-395,000 = 7,885,790 speakers. That's still 8 million.
 * So I would suggest adding speakers_label=Speakers to make clear that the estimate of 8 million speakers isn't for native speakers only but for all users.
 * What do you think @Uanfala? a455bcd9 (Antoine) (talk) 12:56, 1 January 2023 (UTC)
 * Actually the number for Turkey probably includes L2 ethnic Turks from Bulgaria (including those still alive among the 360k expelled in 1989) and L1 ethnic Bulgarian (including Pomak). So 395k L1+L2 is probably not that exaggerated. a455bcd9 (Antoine) (talk) 13:01, 1 January 2023 (UTC)
 * According to Forced Migrants or Voluntary Exiles: Ethnic Turks of Bulgaria in Turkey (2014): "It is estimated that each year 30,000 Bulgarian Turks emigrated to Turkey during 1990–1997 period (Dimitrova 1998)." => 360k + 240k ethnic Turks from Bulgaria who moved to Turkey between 1989 and 1997. (30–40% moved back to Bulgaria or elsewhere as well, especially after Bulgaria joined the EU, see Elchinova and Kutlay 2017) a455bcd9 (Antoine) (talk) 13:12, 1 January 2023 (UTC)
 * Correct me if I'm wrong, but the figures for the Pomak (who are L1 Bulgarian speakers) should be very low. The vast majority of those 360k + 240k people are L1 speakers of Turkish who would have picked up Bulgarian at school while in Bulgaria but who would have probably had little reason to continue using the language in the three decades since they left the country. – Uanfala (talk) 11:49, 2 January 2023 (UTC)
 * I agree. That still gives us 8 million total speakers (L1+L2). a455bcd9 (Antoine) (talk) 11:57, 2 January 2023 (UTC)

Speakers
Hi @Uanfala, I don't understand your revert: the version of Ethnologue was undated, the figure was undated, and there's "dubious" without explanation even though it's sourced. a455bcd9 (Antoine) (talk) 12:36, 1 January 2023 (UTC)
 * The dubious tag has a discuss link pointing to a thread on the talk page. Being unsourced is a different problem than being sourced but dubious. I don't see a need for updating the Ethnologue ref either: both versions give the figure of 8 million, and the other digits are not significant. – Uanfala (talk) 12:41, 1 January 2023 (UTC)
 * Ah sorry I didn't see the link to the discussion. I formatted the ref though. a455bcd9 (Antoine) (talk) 12:44, 1 January 2023 (UTC)

The dates are still relevant, and updating shows the reader that the problem isn't that the figure hasn't been updated.

The figure of 6.84M for Bulgaria is from the European Commission (2012). Do we have any reason to think that figure is inaccurate?

If we discount the figures in other countries that are based on ethnicity, we get 7.63M. Round up and we still get 8M. And we would want to round up, since many of those people do presumably speak Bulgarian.

I disagree with definition of "native" claimed above. People can be natively bilingual. One common situation is where the language of school or the neighborhood differs from the language of the home. When children pick up a language at c. 6yo and continue with it for life, it counts as a native language. — kwami (talk) 04:22, 2 January 2023 (UTC)
 * As mentioned above, the 2012 European Commission figure is an estimate based on a small survey, it is much higher than the L1 figures from the census at about the same time, and it probably reflects the L1 + L2 speakers in the country. – Uanfala (talk) 12:01, 2 January 2023 (UTC)
 * I agree. However, our source doesn't say that there are 8 million native speakers but 8 million total speakers (L1+L2). So I suggest the following:
 * |speakers= million native speakers in Bulgaria
 * |date=2011 census
 * |ref=
 * |speakers2= million native and second-language speakers globally (2012–2020)
 * |speakers_label=Speakers
 * a455bcd9 (Antoine) (talk) 10:57, 2 January 2023 (UTC)
 * Maybe wait until we hear back on your question from Ethnologue? In particular, I'm interested in seeing more about how they've arrived at the L1+L2 speakers abroad. That number seems to include the almost half a million L2 speakers in Turkey, most of whom probably haven't used the language in decades. And I don't think it accounts for the fact that a substantial portion of the Bulgarian L1 speakers estimated to live in Western Europe are likely temporary migrant workers who probably still get counted in the Bulgarian census. As for the 5.66 million in Bulgaria according to the census: that's lower than the actual number as the language question was optional and 0.7 million people refused to answer it. – Uanfala (talk) 12:01, 2 January 2023 (UTC)
 * "how they've arrived at the L1+L2 speakers abroad": do you have access to Ethnologue? If not I can copy/paste the numbers for each country. Yes, they include "395,000 in Turkey (2019)".
 * I don't think temporary workers are counted twice given the (low-ish) numbers in Western Europe and their sources:
 * 0 in France,
 * 7,170 in Sweden (2020 census), based on nationality.
 * "38,500 in United Kingdom (2011 census)" (temporary migrant workers don't answer the UK census),
 * "117,000 in Spain (2020 census), based on nationality.",
 * "389,000 in Germany (2020 census), based on nationality."
 * 5.66 million in Bulgaria: yes that's lower, but we round it to 6m anyway.
 * Of course we can wait for their answer, but I think we could change  right now because we know for sure that 8m is for L1+L2 speakers, not L1 only. a455bcd9 (Antoine) (talk) 12:09, 2 January 2023 (UTC)
 * Please find here, Ethnologue's answer. tl;dr: 8m = L1+L2 and number in Turkey is unclear. a455bcd9 (Antoine) (talk) 18:04, 19 January 2023 (UTC)
 * Should I implement the suggested changes @Uanfala? a455bcd9 (Antoine) (talk) 16:43, 23 January 2023 (UTC)
 * I wouldn't cite Ethnologue here, and I wouldn't use numbers with wildly false accuracy (even if hidden behind sigfig). We can have the infobox say there are 6 million L1 speakers in Bulgaria (that's discussed and sourced in the article text; preferring "L1" over "native" per kwami's point). A figure of something like "c. 8 million" is probably plausible for the L1+l2 speakers worldwide, but I'd rather we didn't follow Ethnologue here either: their count includes 0.4 million in Turkey (which rests on the twin assumptions that most Bulgarian immigrants there are Pomak and that they still speak Bulgarian: both seem dubious), and also high numbers for countries like Spain and Germany, which are based on nationality and so are overestimates. – Uanfala (talk) 11:35, 24 January 2023 (UTC)
 * So which RS should we use? Ethnologue is RS so I don't see any reason not to use it if their estimate is "probably plausible". Also, I don't see any reason to consider that estimates based on nationality are "overestimates", unless you have a reliable source claiming so in the case of Bulgarian in Spain and Germany? It seems plausible to me that the vast majority of Bulgarian nationals in these two countries speak the Bulgarian language (as an L1 or an L2). a455bcd9 (Antoine) (talk) 11:44, 24 January 2023 (UTC)
 * Also, the tag says "dubious", even though as you said the 8m estimate is "probably plausible". So there's nothing dubious here. We have a census giving 6m L1 speakers in Bulgaria and we have Ethnologue, a reliable source, giving 8m L1+L2 speakers worldwide. Unless we have other reliable sources contradicting these two figures we should add them to the infobox and remove that "dubious" tag. a455bcd9 (Antoine) (talk) 11:46, 24 January 2023 (UTC)

Name
This article badly needs a section about the name of this language. When this name appeared. --95.24.69.178 (talk) 18:22, 10 February 2024 (UTC)
 * There is a sentence: The first mention of the language as the "Bulgarian language" instead of the "Slavonic language" comes in the work of the Greek clergy of the Archbishopric of Ohrid in the 11th century, for example in the Greek hagiography of Clement of Ohrid by Theophylact of Ohrid (late 11th century). Jingiby (talk) 19:49, 10 February 2024 (UTC)

title: Talk:Bulgarian language


text:
Talk:Eli

Hey Steve, just a few comments. Other than that, nice work on the "God" stuff. Danny
 * 1) Eli is Hebrew as well as Aramaic.
 * 2) It is derived from El, a Canaanite storm god.
 * 3) The "i" suffix indicates first person singular possession, i.e., "my El".
 * 4) Eli is also a common first name in Hebrew, however, there is a distinction between Eli spelled with an aleph, which is a diminutive form of Eliahu (Elijah), Eliezer, etc. and Eli spelled with an 'ayin, which is the name of the high priest in the Book of Samuel.

Eli is an arabic word and it is used in modern arabic and old arabic (What you call Semitic). It was widely used in arabic poems in the past. —Preceding unsigned comment added by Asd1815 (talk • contribs) 22:17, 15 January 2010 (UTC)

title: Talk:Eli


text:
QRP

QRP may refer to:
 * QRP operation in amateur radio, low-power transmitting
 * Queen retinue pheromone, a type of honey bee pheromones
 * Queens Road Peckham railway station, National Rail code
 * Quadratic residuosity problem in mathematics

title: QRP