text:
User talk:Pacific1982

Hello Pacific, welcome to Wikipedia. I hope you enjoy editing here and being a Wikipedian. You can learn more on the how to edit page. The naming conventions and style guide pages are also useful. There is a sandbox which you can use to experiment in. If you have any questions, see the help pages or add a question to the village pump. Angela 04:17, 3 Aug 2003 (UTC)

Vandalism
Vandalism in progress. Most of the time, simply reverting the page a single time is good enough and a report isn't needed. To revert a page, go to the Page History, and click to edit the last good post. Leave contents exactly as they are, and put in the Summary some information like "revert vandalism by user:213.122.43.100 to last edit by User:Nikai". I did so for Film. --zandperl 16:50, 22 Mar 2004 (UTC)

Thank you! --Pacific1982 19:50, 22 Mar 2004 (UTC)

I think you've been had
You created a disambig page for Daniel Greene. However there is no such person as Daniel Greene (pop singer). This was vandalism created by anon, using info from Geri Halliwell, and placign it on Daniel Greene page - which I take it you then moved to a seperate article. I think I've sorted it out and marked the appropriate pages for deletion. I assume you had nothing to do with the original vandalism. --Doc Glasgow 15:28, 1 May 2005 (UTC)

Sorry, just read your talk on the page - I see that is exactly what happened - --Doc Glasgow 15:31, 1 May 2005 (UTC)

Viola
I see that you changed alliterator's "Viola!" at Talk:Veronica Mars to "Voilà!". I was tempted to do this as well, but I assumed Alliterator might have been deliberately misusing the term, as is often done by English speakers affecting bad French. I was going to quote my favorite instance of this from Mystery Science Theater 3000, but to my horror, and despite the fact that I am a major contributor to Wikiquote and MST3K is my favorite show, I can't for the life of me recall exactly what Pearl Forrester said when she did this. C'est très damage. ~ Jeff Q (talk) 06:22, 2 March 2006 (UTC)

 * Thanks for the "heads-up" concerning how the misspelling of voilà may have been intentional. I'm also a fan of MST3K, but I'm not hard-core enough to remember that specific line of Pearl's. I will leave it to Alliterator to do a revert on that if desired. Pacific1982 15:16, 2 March 2006 (UTC)

Need for info
Dear Pacific1982,

I'm writing from it.wiki to have some advice about copyrighted images. I wanted to upload to Commons the image about Darius Milhaud but its template states it as a copyrighted pictur. What conditions let it remain on en.wikipedia? I noticed that some other pictures (scans from sheet music in Olivier Messiaen) have the same status. I'd be delighted to scan some of the scores I bought to embellish my music articles, but I didn't understand what makes them liable here on en.wiki and uneligible on Commons. I could download thos pictures on my hard disk and upload them on it.wiki, but I fear controversy about copyright issues.

Forgive my bad English. Thank you in advance for your kind reply. -  ε Δ ω  16:00, 19 September 2006 (UTC)

 * If I am not mistaken, such copyrighted images can be put onto Wikipedia under certain conditions of fair use. If I may paraphrase: "It is believed that the use of low-resolution images of promotional material (1) to illustrate the work or product in question; (2) in the absence of free images that could serve such a purpose; (3) on the English-language Wikipedia, hosted on servers in the United States by the non-profit Wikimedia Foundation, (4) qualifies as fair use under United States copyright law."

 * I don't know or understand what the rules are concerning the Italian Wikipedia, or the transfer of images from English Wikipedia to Italian Wikipedia. You may need to ask those in charge how the copyright laws apply on your site. All I know is that "fair use" of a copyrighted image is OK. Pacific1982 20:10, 20 September 2006 (UTC)

Your edit to Bob Sacamento
Your recent edit to Bob Sacamento (diff) was reverted by an automated bot that attempts to recognize and repair vandalism to Wikipedia articles. If the bot reverted a legitimate edit, please accept my humble creator's apologies – if you bring it to the attention of the bot's owner, we may be able to improve its behavior. Click here for frequently asked questions about the bot and this warning. // AntiVandalBot 02:59, 16 December 2006 (UTC)

It's Sacamento
How many times to people have to say this???

It is Sacamento not "Sacamano", "Sacomano", or "Sacamanto".

If you have time, please change it to the way it should be.

Thanks!

Sincerely,

Psdubow and Cocoaguy

License tagging for Image:Letterpaper1.jpg
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AfD nomination of David Viscott
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Unreferenced BLPs
Hello Pacific1982! Thank you for your contributions. I am a bot alerting you that 1 of the articles that you created  is tagged as an Unreferenced Biography of a Living Person. The biographies of living persons policy requires that all personal or potentially controversial information be sourced. In addition, to ensure verifiability, all biographies should be based on reliable sources. If you were to bring this article up to standards, it would greatly help us with the current Category:All_unreferenced_BLPs article backlog. Once the article is adequately referenced, please remove the unreferencedBLP tag. Here is the article:

Thanks!--DASHBot (talk) 11:17, 25 January 2010 (UTC)
 * 1) James Darren -

File:Plaza at Del Mar.jpgg
Did you forget to add a license tag for this image when uploading.?

Wikipedia takes copyrights seriously, so images need to have an appropriate license tag

You may wish to read Image_copyright_tags/All and Image_copyright_tags which will assist you :) Sfan00 IMG (talk) 16:32, 22 July 2010 (UTC)

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ArbCom elections are now open!
MediaWiki message delivery (talk) 08:53, 23 November 2015 (UTC)

title: User talk:Pacific1982


text:
Blush

Blush may refer to:

 * Blushing, the physiological occurrence of temporary redness of the face as an emotional response
 * Blush (cosmetics) or rouge, a cosmetic
 * Blush (magazine), a Canadian lifestyle magazine
 * Blush wine, a kind of rosé wine
 * Blush (color), a medium bright tone of red-violet
 * Blush, Albania
 * Blush, a Crayola crayon color
 * Blush (surname)

Film and television

 * Blush (1995 film), a Chinese film
 * Blush (2015 film), an Israeli film
 * Blush (2019 film), an American film
 * Blush (2021 film), a 2021 animated short film on Apple TV+
 * Blush: The Search for the Next Great Makeup Artist, a 2008 American reality TV show
 * "Blush" (Kim Possible), an episode of Kim Possible
 * Blush, a 2002 dance program and 2005 film by Wim Vandekeybus

Music

 * Blush (Asian band), a pan-Asian girl band
 * Blush (Mexican band), a 2011 all-girl rock-pop band from Mexico
 * Blush, a band signed to Surfdog Records
 * Blush (Wa Wa Nee album), 1989
 * Blush (Moose Blood album)
 * Blush (Maya Hawke album)
 * Blush (PVA album)
 * Blush (Wolf Alice EP)
 * Blush (Jeffree Star EP)
 * "Blush", a song by Aly & AJ from Insomniatic
 * "Blush", a song by The Hummingbirds from loveBUZZ
 * "Blush (Only You)", a song by Plumb from Chaotic Resolve

Characters

 * Blush, a female mascot for Children in Need 2009
 * Blush, a character in the manga Et Cetera (manga)

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

title: Blush


text:
Book collecting

Book collecting is the collecting of books, including seeking, locating, acquiring, organizing, cataloging, displaying, storing, and maintaining whatever books are of interest to a given collector. The love of books is bibliophilia, and someone who loves to read, admire, and a person who collects books is often called a bibliophile but can also be known as an bibliolater, meaning being overly devoted to books, or a bookman which is another term for a person who has a love of books.

Book collecting can be easy and inexpensive: there are millions of new and used books which are available in brick and mortar bookstores as well as online bookstores. Large book sellers include AbeBooks, Alibris, Amazon, and Biblio.com, and there are independent booksellers that can be found online by searching key words such as: books, books for sale, bookseller, bookstore, rare books, collectibles, etc.

Books traditionally were only printed on paper and then pages were bound together; however, in the past decade or so, books are also available in audio format through websites such as Audible, Google Audiobooks, Librivox, Kobo Audiobooks, and Downpour. Users of these sites can purchase a large library of books that they can access at any time using a phone, tablet, or computer. Just like hard copy books, audio books can be accumulated over many years.

Wealthy book collectors pursue rarities such as the Gutenberg Bible and Shakespeare's First Folio, books which are both famous and extremely valuable. Collectors of lesser means may collect works by a favorite author, first editions of modern authors, or books of a certain genre. Book prices generally depend on the demand for a given edition which is based on factors such as the number of copies available, the book's condition, and if they were signed by the author (and/or editor or illustrator, if applicable) or by a famous previous owner. For example, a first edition “And To Think That I Saw It On Mulberry Street” can reach the price of $12,000 in the best condition. Some collectors join associations such as The Fine Press Book Association, which is aimed at collectors of modern fine printing. The Private Libraries Association also covers modern fine printing, but is much more general in its outlook.

History
In the ancient world, papyri and scrolls (the precursors of the book in codex form) were collected by both institutions and private individuals. In surviving accounts there are references to bibliophile book collectors in that era. Xenophon wrote disparagingly of a man who tried to collect more books than his friends. Seneca the Younger was skeptical of those who collect books they do not read, asking: "What is the use of possessing numberless books and libraries, whose titles their owner can hardly read through in a lifetime?" Book collectors in western antiquity prized accurate transcription and high-quality materials.

In 1344 the English bishop Richard de Bury wrote The Philobiblon, in which he praised the love and appreciation of books. Philip the Good brought together a collection of "about six hundred manuscripts in his possession at the height of his reign", which was the largest private collection of his day.

With the advent of the printing press invented by Johannes Gutenberg in the 15th century, which resulted in cheaper and more abundant books, and with the contemporaneous economic, social and political changes of the Renaissance, book collecting received a great impetus. Jean Grolier, the Treasurer-General of France, was an important bibliophile and book collector of this period. Grolier owned a library of 3,000 volumes and was known for his love of the Latin classics and of richly decorated bookbindings. He was a patron of the Aldine Press that had been founded by the prominent Renaissance printer, typographer, editor and publisher Aldus Manutius the Elder.

During the Reformation many monastic libraries were broken up, and their contents often destroyed. There was an English antiquarian reaction to Henry VIII's dissolution of the monasteries. The commissioners of Edward VI plundered and stripped university, college, and monastic libraries; so to save books from being destroyed, those who could, such as Archbishop Matthew Parker and Sir Robert Cotton, began to collect them.

By the late 17th century, millions of printed books were in circulation and auctions devoted to books began to occur and printed catalogues devoted to books began to be issued by book dealers and by auction houses in Europe and America, leading to a growing popularity of book collecting with the increasingly literate public.

With the advent of the Romantic era in the 18th century and its focus on the past, book collectors began to show an interest in old books, antiquarian editions and manuscripts. This new emphasis was nourished by the flood of old books onto the market following the dissolution of monastic and aristocratic libraries during the French Revolution and the Napoleonic Wars.

The British Whig politician George John, 2nd Earl Spencer (1758-1834) collected tens of thousands of volumes. Strengths of his collection included first editions of the classics; works produced by important early presses, and notably an almost complete collection of Aldine editions; and many Bibles. In 1812 he founded the bibliophilic Roxburghe Club.

Sir Thomas Phillipps (1792-1872) collected 40,000 printed books and 60,000 manuscripts. He was "the greatest collector of manuscript material the world has ever known". His zealous collecting efforts, which were termed bibliomania by Thomas Frognall Dibdin, resulted in the preservation of much historical material, particularly manuscripts, that would otherwise have been destroyed.

The increasingly wealthy United States during the 19th century saw the appearance of "titan" book collectors such as the railroad magnate Henry Huntington and the financier and banker J. Pierpont Morgan.

Well-known book collectors of the 20th century included Eric Quayle (children's books), Henry Wellcome (history of medicine) and Michael Sadleir (Victorian fiction).

Prices
Book prices generally depend on the demand for a given book, the number of copies available for purchase, and the condition of a given copy. As with other collectibles, prices rise and fall with the popularity of a given author, title, or subject.

Because of the huge number of books for sale and the constantly changing marketplace of editions available, there is no single comprehensive price guide for collectible books. The prices of the copies listed for sale at the online bookseller sites provide some indication of their current market values.

The Rothschild Prayerbook sold for $13.6 million while the St Cuthbert Gospel sold for $14.7 million. Both of these religious texts were sold in 2012. The Northumberland Bestiary sold for $20 million in 2007. The New Book of Tang sold for $17.1 million in 2018. William Shakespeare’s First Folio, printed in 1623, sold for $9.978 million in 2020. An Action Comics #1 issue sold for a record $3.2 million in 2014 with a cover price of 10 cents.

Condition
As with other collectibles, the value of a book ultimately depends on its physical condition. Years of handling, moving, and storage take their toll on the dust jacket, cover, pages, and binding. Books are subject to damage from sunlight, moisture, and insects. Acid from the paper making process can cause the pages to develop brown spots, called foxing; gradually turn brown, called tanning; and ultimately crumble. Despite appearing in many films and other popular culture, wearing cotton gloves while handling old or rare books does not protect the book, and can increase the risk of inadvertent damage. However, the theatrical effect of showing a rare book being handled with gloved hands may increase its selling price.

Common defects include general wear; dust jacket or cover edge wear, scratches, and tears; the previous owner's written name, bookplate, or label; soil and stains; dogeared pages; underlining, highlighting, and marginalia; water damage; torn hinges, endpapers and pages; and pages, illustrations, or whole signatures free of the binding, or missing entirely.

A book in good condition should be a rectangular solid when at rest, whether upright or on its back, with the covers at right angles to the spine. If a book is out of square, usually from resting crooked on a shelf, or leans to the right or left when on its back, it is cocked, or shelf-cocked. If the covers bend in or flare out, usually from rapid humidity changes, a book is bowed (bent like a drawn bow). Thick hardbound books also tend to have their pages sag downward in the middle even if they are sitting level on a shelf.

Antiquarian book collecting
Antiquarian book collecting may be roughly defined as an interest in books printed prior to 1900 and can encompass interest in 19th, 18th, 17th, 16th, and 15th-century books. Antiquarian book collectors are not exclusively interested in first editions and first printings, although they can be. European books created before 1455 are all hand-written and are therefore one-of-a-kind historical artifacts in which the idea of "edition" and "printing" is irrelevant. Any book printed up to the year 1501 is known as an incunable or incunabulum. Such books command a premium and are particularly sought after by collectors interested in the history of printing. There is also an interest among antiquarians for books beautifully made with fine bindings and high quality paper. For many books printed before about 1770, the first edition is not always obtainable, either because of price and/or availability. Later editions/printings from an era of interest are still often desirable to the antiquarian collector as they are also artifacts.

For example, a first edition of Paradise Lost (1667) by John Milton can fetch equivalent to a down payment on a house. However, the first illustrated folio edition of 1688, technically a later edition, is worth a fraction of the first edition, but still fetches in the thousands of dollars as an illustrated book from the era in which Milton lived.

There were many editions of Alexander Pope's translation of The Iliad and The Odyssey. The first edition of 1715-1720 is worth a small fortune whereas slightly later 18th-century editions are a lot less expensive but still garner premium prices. The John Ogilby 17th-century translations of Homer's The Iliad and The Odyssey garner hefty prices, but not as much as the first edition of the Pope translation. This may be in part due to a significant number of copies of Ogilby's first edition that probably perished in the Great Fire of London of 1666.

The first English movable-type printer was Caxton in the late 15th century. Editions of his books from the 15th century are very rare. Occasionally, 16th-century editions similar to Caxton's books appear among antiquarian book dealers and auctions, often fetching very high prices. The last Shakespeare First Folio of 1623 (first edition of the collected works of William Shakespeare) garnered a record-breaking $9,978,000 at Christie's in October 2020. Later 17th-century folios of William Shakespeare's works can still fetch about the price of a small house but are more readily available and relatively obtainable, whereas almost all extant copies of the First Folio are owned by libraries, museums or universities and thus are unlikely to appear on the market. For the antiquarian collector, how a particular book's production fits into a larger historical context can be as important as the edition, even if it may not be a first edition.

Also of interest are books previously owned by famous persons, or personages of high stature, such as someone from royalty or the nobility. Tracing the history of an antiquarian book's possession history, referred to as "provenance", can markedly affect the value of a copy, even if it is not desirable per se. For example, a copy of a less-important 18th-century book known to have been owned by Voltaire would achieve a value many times its stand-alone market value, simply because it was once in Voltaire's possession. Previous owners of books often signed their copies or labelled them with bookplates, and it is often not difficult to identify a prominent previous owner if the provenance is well documented. Books owned by well-known individuals that also have a connection with the author (often as a gift from the author with a written dedication to the recipient) are known as association copies.

The American School Library is an example of a very rare multi-volume boxed set with works by many popular or famous authors. Apparently the only extant full set is owned by the Smithsonian Institution's National Museum of American History.

Prominent book collectors

 * John Roland Abbey
 * John Quincy Adams
 * Darren Ashcroft
 * Clifton Waller Barrett
 * Chester Beatty
 * William Thomas Beckford
 * Martin Bodmer
 * The Book Club of Detroit
 * John Carter Brown
 * Boudewijn Büch
 * Anthony Collins
 * George Cosmatos
 * Robert Bruce Cotton
 * Jules Desnoyers
 * Joseph W. Drexel
 * Alexandre Dumas, père
 * Umberto Eco
 * John Evelyn
 * DeCoursey Fales
 * Ian Fleming
 * Henry Clay Folger
 * R. B. Freeman
 * George III
 * Edward Gibbon
 * Stephen Jay Gould
 * Robert Harley, Earl of Oxford
 * Rush Hawkins
 * Richard Heber
 * Henry II of France
 * Harrison D. Horblit
 * Arthur A. Houghton Jr.
 * Henry E. Huntington
 * Thomas Jefferson
 * Jerome Kern
 * Geoffrey Keynes
 * John Maynard Keynes
 * Aleksey Khludov
 * George Frederick Kunz
 * Mark Lanier
 * Robert Lenkiewicz
 * Wilmarth Sheldon Lewis
 * Josiah K. Lilly Jr.
 * Frederick Locker-Lampson
 * Antonio Magliabechi
 * Alberto Manguel
 * H. Bradley Martin
 * Larry McMurtry
 * Wolfgang Menzel
 * Dewitt Miller
 * David Scott Mitchell
 * Michel de Montaigne
 * J. Pierpont Morgan
 * William Morris
 * Christoph Gottlieb von Murr
 * A. Edward Newton
 * Friedrich Nietzsche
 * Charles Nodier
 * William Osler
 * Samuel Pepys
 * Charles Dyson Perrins
 * Sir Thomas Phillipps
 * Francis Place
 * Abraham Rosenbach
 * Lessing J. Rosenwald
 * Ellen G. K. Ruben
 * Joaquín Rubio y Muñoz
 * Arturo Alfonso Schomburg
 * Martin Schoyen
 * John MacKay Shaw
 * Frederick Skiff
 * Adam Smith
 * Walter W. Stone
 * Thomas W. Streeter
 * George Thomason
 * Jay S. Walker
 * Levinus Warner
 * Andrew Dickson White
 * John Griswold White
 * Harry Elkins Widener

In China
The history of book collecting in China dates back over two millennia. An important effort to collect books in China was made during the early Han dynasty by the government, as many important books were burned during the Qin dynasty. From then on, book collecting began to flourish in China, particularly after the invention of block printing during the early Tang dynasty, with both imperial and private collections blooming throughout the country. However, the systematic study of book collecting began only during the Qing dynasty.

Terminology

 * Cangshulou ( "book collecting tower"): library, such as the private Tianyi Chamber (天一閣), the oldest existing library in China, or the imperial Wenyuan Chamber (文淵閣), where the works collected in the Complete Library of the Four Treasuries were reposited
 * Jinxiangben (巾箱本 "headscarf box edition"): ancient pocket edition
 * Jiupingzhuang (舊平裝 "old paperback") or Jiushu (舊書 "old books"): old books published after 1911, when the Qing dynasty was overthrown
 * Maobianben (毛邊本 "hairy-side edition"): uncut editions
 * Songben (宋本 "Song edition") or Songban (宋版 "Song edition"): block printed books published during the Song dynasty, highly valued by collectors
 * Xianzhuangshu (線裝書 "thread-bound book"): thread-bound books, usually referred to those published before 1911

Virtual book collecting
Virtual book collecting can be described as collecting books in a digital format (virtually) on a computer or other electronic device. A bibliophile may acquire ebooks by downloading them or copying from borrowed media, such as CDs and DVDs. However, this may violate copyright law, depending on the license under which the ebook was released. Ebooks acquired from Project Gutenberg and many similar free collections cause no violation as they have gone out of copyright, have been released under a Creative Commons license, or else are in the public domain.

title: Book collecting


text:
Al Bowlly

Albert Allick Bowlly (7 January 1898 – 17 April 1941) was a South African-British vocalist and dance band guitarist who was popular during the 1930s in Britain. He recorded upwards of 1,000 songs that were listened to by millions.

His most popular songs include "Midnight, the Stars and You", "Goodnight, Sweetheart", "Close Your Eyes", "The Very Thought of You", "Guilty", "Heartaches" and "Love Is the Sweetest Thing". He also recorded the only English version of "Dark Eyes" by Adalgiso Ferraris, as "Black Eyes", with the words of Albert Mellor.

Early life
He was born in 1898 in Lourenço Marques (today Maputo) in the Portuguese colony of Mozambique. Al's father, Alick, was an Orthodox Christian who was Greek by nationality. His mother, born Miriam Ayoub-NeeJame, was a Lebanese Catholic, though Al himself was raised Greek Orthodox. They met en route to Australia and moved to British South Africa. Bowlly was brought up in Johannesburg. The family's original surname was Pauli which was misspelt as Bowlly, Alick was only able to speak and read Greek, so the mistake went unnoticed and the name became permanent.

Career
After a series of odd jobs in Colesburg South Africa, including barber and jockey, he sang in a dance band led by Edgar Adeler on a tour of South Africa, Rhodesia, India and the Dutch East Indies during the mid-1920s. His main role was as guitarist. He was fired from the band in Soerabaja, Dutch East Indies.

Jimmy Lequime hired Bowlly to sing with his band in India and Singapore at Raffles Hotel. When he left Lequime, it was with the pianist Monia Liter, the two of them travelling to Germany, where they played with Arthur Briggs and his Savoy Syncopators, Fred Bird's Salon Symphonic Jazz Band, and George Carhart's New Yorkers Jazz Orchestra. In 1927 Bowlly made his first record, a cover version of "Blue Skies" by Irving Berlin that was recorded with Adeler in Berlin, Germany. During the next year, he worked in London, with the orchestra of Fred Elizalde.

He moved to Britain, where in July 1928 he joined Fred Elizalde's band that played at the Savoy Hotel, London until 1930. He went on to play with various bands on a temporary basis, before gaining more regular employment in May 1931 with Roy Fox, singing in his live band for the Monseigneur Restaurant, a stylish restaurant on Piccadilly in London, and later with bandleader Ray Noble in November 1930.

During the next four years, he recorded over 500 songs. By 1933, Lew Stone had ousted Fox as the Monseigneur's bandleader and Bowlly was singing Stone's arrangements with Stone's band. After much radio exposure and a successful British tour with Stone, Bowlly was inundated with demands for appearances and gigs – including undertaking a solo British tour – but continued to make most of his recordings with Noble. There was considerable competition between Noble and Stone for Bowlly's time. For much of the year, Bowlly spent the day in the recording studio with Noble's band, rehearsing and recording, then the evening with Stone's band at the Monseigneur. Many of these recordings with Noble were issued in the United States by Victor, which meant that by the time Noble and Bowlly came to America, their reputation had preceded them.

Bowlly performed in England with his band, the Radio City Rhythm Makers. By 1937, the band had broken up when vocal problems were traced to a wart in his throat, briefly causing him to lose his voice. Separated from his wife and with his band dissolved, he borrowed money from friends and travelled to New York City for surgery.

His absence from the UK in the early 1930s damaged his popularity with British audiences, despite his association with pianist Monia Liter as his accompanist. His career began to suffer as a result of problems with his voice, which affected the frequency of his recordings. He played a few small parts in films, but the parts were often cut and scenes that were shown were brief. Noble was offered a role in Hollywood, although the offer excluded Bowlly because a singer had already been hired. Bowlly moved back to London with his wife Marjie in January 1937.

With diminished success in Britain, he toured regional theatres and recorded as often as possible to make a living, moving from orchestra to orchestra, working with Sydney Lipton, Geraldo and Ken "Snakehips" Johnson. In 1940, there was a revival of interest in his career when he worked in a duo with Jimmy Messene in Radio Stars with Two Guitars on the London stage. It was his last venture before his death in April 1941. The partnership was uneasy; Messene was an alcoholic and he was occasionally unable to perform. Bowlly recorded his last song two weeks before his death. It was a duet with Messene of Irving Berlin's satirical song about Hitler, "When That Man Is Dead and Gone".

Personal life and death
In December 1931, Bowlly married Constance Freda Roberts (died 1934) in St Martin's Register Office, London; the couple separated after a fortnight and sought a divorce. He remarried in December 1934 to Marjie Fairless; this marriage lasted until his death.

On 16 April 1941, Bowlly and Messene had given a performance at the Rex Cinema in Oxford Street, High Wycombe. Both were offered an overnight stay in town, but Bowlly took the last train home to his flat at 32 Duke Street, Duke's Court, St James, London. He was killed by a Luftwaffe parachute mine that detonated outside his flat at ten past three in the morning. His body appeared unmarked. Although the explosion had not disfigured him, it had blown his bedroom door off its hinges, and the impact against his head was fatal. He was buried with other bombing victims in a mass grave at Hanwell Cemetery, Uxbridge Road, Hanwell, where his name is given as Albert Alex Bowlly.

A blue plaque commemorating Bowlly was installed in November 2013 by English Heritage at Charing Cross Mansion, 26 Charing Cross Road, described as "his home at the pinnacle of his career".

Legacy
Al Bowlly's cover songs have been widely included in other forms of media. The Caretaker, who sampled Bowlly's music for his Everywhere at the End of Time series of albums from 2016 to 2019, has said the public believed that if Bowlly had not died during the war, he would have been "bigger than Bing Crosby," and that "he had a better voice."

Dennis Potter's television play Moonlight on the Highway, first broadcast in the UK on 12 April 1969, focused on a young Al Bowlly's obsessive attempting to blot out memories of sexual abuse via his fixation with the singer. Potter later featured Bowlly's music in Pennies from Heaven (1978).

Bowlly was mentioned, and his songs were used, throughout the first few series of the British TV comedy Goodnight Sweetheart.

Bowlly's rendition of "Midnight, the Stars and You" has been particularly used and referenced throughout varied films, appearing in The Shining, Toy Story 4, and Ready Player One. Some commentators specifically highlight its use in The Shinings ending scene, with HeadStuffs Luka Vukos calling it "haunting" and Screen Rant praising it as "one of the most unforgettable final shots in film history." The song has also been used in the 2013 video game BioShock Infinite: Burial at Sea and sampled by musician Leyland Kirby on the Caretaker's Shining-inspired album Selected Memories from the Haunted Ballroom.

Bowlly's 1931 recording of 'Hang Out the Stars in Indiana' with Ray Noble & The New Mayfair Dance Orchestra features in Bruce Robinson's 1987 British comedy film Withnail and I.

Richard Thompson wrote a song called "Al Bowlly's In Heaven", about a homeless veteran reminiscing of his time as a soldier and contrasting it with his poverty since, included on his album Daring Adventures. The song has been a staple of his live set ever since and is included on many of his live releases.

A sample of My Woman, recorded by Bowlly with Lew Stone in November 1932, appears on White Town's UK chart topper Your Woman (1997).

Al Bowlly’s rendition of the song “Guilty” was used in the Jean-Pierre Jeunet film Amélie (2001).

title: Al Bowlly


text:
NoteCards

NoteCards was a hypertext-based personal knowledge base system developed at Xerox PARC by Randall Trigg, Frank Halasz and Thomas Moran in 1984. NoteCards was developed after Trigg's pioneering 1983 Ph.D. thesis on hypertext while at the University of Maryland College Park.

NoteCards was built to model four basic kinds of objects: notecards, links, browser card, and a filebox. Each window is an analog of a cue card; window sizes may vary, but contents cannot scroll. Local and global maps are available through browsers. There are over 40 different nodes which support various media.

"The basic construct in NoteCards is a semantic network composed of notecards connected by typed links. Each notecard contains an arbitrary amount of information embodied in text, graphics, images, or some other editable substance. Links are used to represent binary connections between cards. NoteCards provides two specialized types of cards, Browsers and FileBoxes, that help the user to manage networks of cards and links."

NoteCards was implemented in LISP on D-machine workstations from Xerox which used large, high-resolution displays. The NoteCards interface is event-driven. One interesting feature of NoteCards is that authors may use LISP commands to customize or create entirely new node types. The powerful programming language allows almost complete customization of the entire NoteCards work environment.

Availability
NoteCards was available commercially from the Common Lisp software vendor Venue, compiled for Solaris 2.5 and 7 (untested on later versions) and Linux x86 with the X Window System.

title: NoteCards


text:
Talk:Charleston (dance)

West Africa
Based on what source is the statement that the rhythm of the Charleston is a traditional West African one? I hear similar claims about many forms of jazz, but without any evidence, or any examples from Africa to demonstrate it. From all I can definitively learn, Ragtime, Jazz, and Swing were unique developments of American music, which originated in the American South among 300-year-old black communities who were influenced by many traditions, including European and African music. No similar musical forms ever developed in Africa, and they were certainly not borrowed from Africa.

PlainJane 04:19, 26 March 2006 (UTC) There is ample evidence to support claims that Afro-American v dances such as the Charleston are related to African forms in much of the literature dealing with Afro-American vernacular dance. For specific reference, consult Malone (Malone, Jacqui. Steppin' on the Blues: The Visible Rhythms of African American Dance. Urbana and Chicago: University of Illinois Press, 1996.), though she argues for a different stage play I think as the first public outing of the charleston.

I echo your reservations about claiming charleston rhythms as _African_ rhythms specifically, though there is ample evidence that the syncopation which characterises Afro-American jazz music and dance is African in descent. We could easily say, though, that these are _Afro-American_ rhythms. To argue otherwise would be to ignore a massive body of literature and research. The authors Szwed and Marks argue that we should consider African disaporic cultural forms not as direct copies of African forms, but as their descendents. I think you'd have difficulty finding documented evidence that the rhythm charleston was in use in Africa at the time (the early 20th century), though I think you could make a reasonable assumption that it was.

Rhythm
It would be useful to have a sample of the rhythm, in musical notation. I'll make up an image if someone will describe it, but since the rhythm is prominently mentioned but not described.... Adam Cuerden 22:17, 7 March 2006 (UTC)

PlainJane 04:19, 26 March 2006 (UTC) I'm reasonably certain it's crotchet, crotchet, dotted crotchet (see dotted note), quaver, crotchet. you'd need to double check that with a musician though.

Sounds right to me! Made it and added it in, but didn't position in very well, it must be admitted. If someone wanted to tweak? (Please?) Adam Cuerden 18:43, 28 March 2006 (UTC)

PlainJane 23:57, 29 March 2006 (UTC) It looks pretty good, except.... one of the key features of swing dances like charleston is that their basic rhythms cross over bars - so it's an 8 count basic rather than a 4... which is kind of nitpicking i guess. I don't really know enough about this to comment intelligently beyond this. lindy hop is also usually based on the same 8 count rhythm - one of the clear markers of its development from charleston.

looks good though!

Adam Cuerden 17:11, 31 March 2006 (UTC) Do you mean there should be two bars of it, that each note should be twice the length, or that the bar line should be positioned differently? Will fix it if I know how. (Or if the NLS has a score for a Charleston I could look at. Hmm. And I'd bet it'd be out of copyright... Well, Monday.)

PlainJane 02:03, 1 April 2006 (UTC) I mean that the 'basic charleston' step is 8 beats long - two bars of 4. Which is that basic rhythm (crotchet, crotchet, dotted crochet, quaver, crochet) repeated so it becomes: crotchet, crotchet, dotted crochet, quaver, crochet (4 counts/1 bar) crotchet, crotchet, dotted crochet, quaver, crochet (the final 4 counts/to make 2 bars). Which kind of makes very little sense to a musician I guess, but is fundamental for dancing... we would never think of the Charleston 'basic' as only 4 counts long. We would vary that basic (ie extend it, shorten, etc), as it's only a basic outline of what we could do, but we'd still think of the basic as '8 counts'... similarly, a lindy hopper thinks in terms of phrases, but thinks of these phrases as 'sets of 8' - so a phrase is 4 sets of 8 to a lindy hopper, rather than 8 sets of 4.

Right! Fixed! And if you ever need something like that for another dance page, do leave a note on my talk page - it's easy enough =) Adam Cuerden 17:01, 1 April 2006 (UTC)

noqu 15:05, 2 April 2006 (UTC) Hmm, but I think it should be dotted 8ths and a 16th (and not dotted quarters and an 8th as in your image). Counting the quarters in your image, you get 5 per bar.

...Damn. Feel liuke an idiot for not spotting that. I'll check some music sheels at the National Library of Scotland tomorrow, and go by what they have. Adam Cuerden 18:10, 2 April 2006 (UTC)

Haven't gotten in yet: I suffer badly from exhaustion, I fear. Seeing a doctor about it today, and hopefully'll be in to the library later this week. Adam Cuerden 07:58, 6 April 2006 (UTC)

If this is an American dance predominantly, wouldn't it make more sense to use the American terminology for the notes? (in this case: quarter, quarter, dotted eighth, sixteenth, quarter) I only ask because of Wikipedia's policy on dialects. --UNHchabo 02:58, 24 May 2006 (UTC)

recent additions to this 'charleston' article
I've recently added some sections to this article on 'charleston', specifically in reference to 20s solo charleston. I'm relatively unfamiliar with editing articles on wikipedia, and should no doubt have hesitated before adding content. All apologies.

I do have some problems with much of the content on this page - it seems out of date. I'm also reluctant to generalise from local dance practices in local scenes to make blanket statements about 'charleston' generally. The writing style could be tidied up a bit as well...

My knowledge of the history of 20s solo charleston is sketchy, so I've not added any.

Please comment ...

editing and restructuring
PlainJane 04:19, 26 March 2006 (UTC) I have added some information to this entry on Charleston, restructured some parts, clarified some descriptions and changed the gender-specific language from 'lady' and 'man' to 'leader and follower'. I've included a reference to the fact that partner charleston was traditionally seen as a man/woman dance, but that it was then and is now often danced by men or women together.

Much of the description of the actual charleston steps could probably be moved to Charleston (dance move). A description of solo 30s/40s charleston could be added to the 'solo' section, even if it's just a single sentence noting the difference. Some references to specific dancers could be included here (eg George Snowden), as could some references to films which feature charleston footage.

Recent 'Irish history' addition
The following has been added to the article:

"'It has also been suggested that the Charleston or a very much faster variation of this dance came from a 300 year old Irish Slip jig. If you were to consider the look that the black African dance stance took, which would be a stooped over cool look, as compared to the straight up and down look of the Charlston, in that the look can more resemble watching Irish folk dancing, than cool swinging. Then conider that most of these dances as we remember the flapper and the roaring 20s, was more identifed with Chicago, which at that time was predominantly Irish.'"

There are some serious problems with the written expression which I don't have time to edit properly. I suspect that there may be a grain of truth in this 'alternate history'. It's certainly the case the tap dancing has Irish ancestors or influences. But I'm not sure whether there's sufficient evidence to support adding this as an 'alternate history' in itself. I can't remember reading anything specifically about it (and I'm not anywhere near my books right now). PlainJane 11:00, 23 December 2006 (UTC)

 * Controversial claim need to be sourced, more so than other parts of an article. Unless someone can provide a reliable source for this alternate history soon, I think it should probably be deleted. —Cswrye 04:54, 24 December 2006 (UTC)

This page...
This page has been edited too many times recently and it should be noted that this is the first rendition:

{Info dump of older version removed. Not needed. Old versions can be seen just fine in the page's history.}

 * So, let me try to understand this. You are wanting to revert back to an older version of the page, correct?  The version you added above is not the first version of this page.  That can be found here, and is much more primative and unformatted than the current version.  Not sure when your version is from, but it's at least more recent than that.
 * But, the bigger issue is, why? Why to you feel that the page needs to revert back to an older version?  What's wrong with the current version that the reverting solves?  Saying it was "editied too many times recently" does not make a lot of sense to me.  Continual editing of articles is one of the core ideas of most any Wiki project, including this one.  There is no final state of an article.
 * If you see specific problems with the current page, please, express them of fix them. But blanket reversion of the article, tossing out how many weeks or months of other people's work and effort, is really not the correct way to go about things here. - TexasAndroid 19:39, 7 February 2007 (UTC)

I am concerned about the language of the posted article stating "Although the step known as "Jay-Bird", and other specific movement sequences are of Afro-American origin, no record of the Charleston being performed on the plantation has been discovered."

The part of the article, "...no record of the Charleston being performed on the plantation has been discovered", is offensive. It implies Blacks were limited to entertaining themselves (and others) only on the plantation, even in the 1920's. Many years after the Emancipation Proclamation, Blacks were moving up in society and attaining relative wealth and opportunity during this time. They were not still limited to the plantation as one implies. It also implies that if it were not written or read about on the 'plantation', then it did not happen. So much of African-American history, as well as Afrikan history relies on the accuracy of the spoken word and the traditional written word. For 1000’s of years many African cultures relied on the tradition of accurate history and story telling. When one reviews African-American history it is also imperative to review all aspects. In the Black Churches, and in jubilation, some of these leg movements, now familiar as 'The Charleston, or Black Bottom', without their ‘provocative’ nature were quite common. Also it is not necessarily the specific movements of the Charleston, but the rhythm and syncopation, spacing and placement of steps and rhythm that is familiar to Afrikan roots, which permeates in all aspects of now, African-American tradition, music, art, culture and dance, speech, cadence and poetry/literature. —Preceding unsigned comment added by 205.237.102.178 (talk) 23:57, 5 February 2009 (UTC)

300 BPM, lol. No I think not, 100 to 120 BPM. Drum and Bass is 170 BPM. The Charleston is a breakbeat which may lead people to believe it is faster than it really is, but NO MUSIC IS 300 BPM. Can we change this please. (Swing & Big Band Composer) —Preceding unsigned comment added by 89.19.90.133 (talk) 00:37, 9 October 2010 (UTC)

Mae Barnes
Should Mae Barnes be mentioned in this article? According to several sources I found in starting her article - such as this obituary - she was credited with introducing the dance to Broadway in 1924. Ghmyrtle (talk) 10:50, 27 October 2016 (UTC)

Dance move has a name?
What is the dance move in the photo that Josephine Baker is doing in the photo? It's where one crosses the hands over to the opposite knee while moving the knees horizontally. I've seen it called "wobbly knees" or "bees knees" but is that really what it is called? Quite a few videos of the Charleston have it in it. Would that be worth putting into the article? Ll1324 (talk) 22:38, 27 April 2018 (UTC)
 * Yes, it would be worth it. That illusion seems to be commonly associated with the Charleston dance today, to the extent that many people think that it IS the Charleston. But we need citations. "Bee's Knees" is an expression from the 1920s period, but does it really refer to this dance? Wastrel Way (talk) 17:42, 27 December 2023 (UTC) Eric

More history info
I think it would be a great idea to add information from this source. I think the history of Jazz and its immediate predecessors are tightly intertwined:

https://www.ccpl.org/charleston-time-machine/tracing-roots-charleston-dance

George Rodney Maruri Game (talk) 07:06, 26 April 2022 (UTC)

title: Talk:Charleston (dance)


text:
Gimpo International Airport

Gimpo International Airport (sometimes referred to as Seoul–Gimpo International Airport), formerly rendered in English as Kimpo International Airport, is located in the far western end of Seoul, some 15 km west of the Central District of Seoul. Gimpo was the main international airport for Seoul and South Korea before being replaced by Incheon International Airport in 2001. It now functions as Seoul's secondary airport. In 2015, over 23 million passengers used the airport, making it the third-largest airport in Korea, as it has been surpassed by Jeju International Airport.

The airport is located south of the Han River in western Seoul. The name "Gimpo" comes from the nearby city of Gimpo, of which the airport used to be a part.

On 29 November 2003, scheduled services between Gimpo and Haneda Airport in Tokyo resumed with services also operating at Incheon Airport. Services to Shanghai Hongqiao International Airport resumed on 28 October 2007. Services to Kansai International Airport in Osaka, Japan, started on 26 October 2008 with services also operating at Incheon Airport. Services to Beijing Capital International Airport started on 1 July 2011 with services also operating at Incheon Airport. Services to Taipei Songshan Airport started on 30 April 2012.

History
The airfield was built in 1939 during the Japanese Imperial period as an Imperial Army base. The runways were built on a bed of rocks manually hauled by Korean laborers from Kaihwasan and Yangchan, several miles from the base. Then known as Keijo New Airfield (京城新飛行場), Kimpo was constructed with four runways to supplement the much smaller Keijo Airfield (京城飛行場), which was later known as Yeouido Airport.

Korean War
Gimpo played a major role during the Korean War, and the USAF designated the airfield as Kimpo Air Base or K-14.

North Korean forces attacked South Korea on 25 June 1950 starting the Korean War. During one of the first Korean People's Air Force (KPAF) attacks on 25 June, a Military Air Transport Service C-54 Skymaster was destroyed on the ground at Gimpo. On 27 June, US naval and air forces began evacuating 748 US diplomats, military dependents, and civilians by air transport from Kimpo and Suwon Airfield. On the afternoon of 27 June, five F-82 Twin Mustangs of the 68th Fighter Squadron and 339th Fighter Squadron were escorting four C-54 Skymaster aircraft out of Kimpo when the C-54s were attacked by five KPAF Lavochkin La-7 fighters. In the subsequent dogfights, three LA-7s were shot down for the loss of no US aircraft in the first air battle of the war. Later that day, four F-80Cs of the 35th Fighter-Bomber Squadron shot down four Ilyushin Il-10s for no losses over Gimpo in the USAF's first jet-aircraft victory.

Gimpo was captured by the KPA shortly after the capture of Seoul on 28 June 1950. On 29 June, eight B-29s of the 19th Bomb Group bombed Gimpo and the Seoul railyards. By July, the KPAF were using the base for attacks on UN forces; on 10 July, seven Yak-7s were hidden at Gimpo and used in strikes against UN positions at Cheongju. The next day, they surprised and damaged several Lockheed F-80s in the area. On 15 July, the US launched an attack on Gimpo, destroying two or three of the seven Yak-7s there and damaging the runway. On 5 August 5th Air Force fighters strafed and bombed Gimpo, destroying 9 aircraft and damaging 9 others.

Following the Inchon landings on 15 September 1950, the 2nd Battalion 5th Marines was ordered to seize Gimpo on 17 September. Gimpo was defended by a conglomeration of half-trained fighting men and service forces, and by the morning of 18 September, the Marines had secured the airfield. The airfield was in excellent shape as the North Koreans had not had time to do any major demolition. On 19 September, the U.S. Army Corps of Engineers repaired the local railroad up to 8 mi inland and 32 C-54 transport planes began flying in gasoline and ordnance. VMF-212 was one of the first units to operate from Gimpo before moving forward to Yonpo Airfield. On 25 September, the 811th Engineer Aviation Battalion began repairing bomb damage on the 6000 ft asphalt runway at Gimpo and covering it with Marston matting. On 6 October, the USAF took control of Gimpo from the USMC.

Following the Chinese Third Phase Campaign and the defeat of UN Forces at the 38th parallel, on 5 January 1951, General Ridgway ordered the evacuation of Seoul and the withdrawal of UN forces to a new defensive line along the 37th parallel. Units based at Gimpo were withdrawn to the south and facilities were destroyed to prevent their use by Chinese and North Korean forces.

UN forces resumed the offensive again in late January 1951 and launched Operation Thunderbolt on 25 January, with the aim of pushing Chinese and North Korean forces back north of the Han River. By 10 February 1951, UN forces once again had control of Gimpo.

USAF units based at Gimpo (Kimpo) included:
 * 4th Fighter Wing operating F-86s from 23 August 1951 to 1 October 1954, subordinate units included:
 * 334th Fighter-Interceptor Squadron
 * 335th Fighter-Interceptor Squadron
 * 336th Fighter-Interceptor Squadron
 * 8th Fighter-Bomber Wing from 25 June to 23 August 1951
 * 51st Fighter-Interceptor Wing from 10 October 1950 to 10 December 1950, subordinate units included:
 * 16th Fighter-Interceptor Squadron operating F-80s from 22 October 1950 to 3 January 1951
 * 25th Fighter-Interceptor Squadron operating F-80s from October 1950 to November 1951
 * 67th Tactical Reconnaissance Group from 20 August 1951 to 6 December 1954, subordinate units included:
 * 12th Tactical Reconnaissance Squadron operating RB-26Bs
 * 15th Tactical Reconnaissance Squadron operating RF-80s and RF-86s
 * 45th Tactical Reconnaissance Squadron operating F-51s
 * 68th Fighter Squadron operating F-82s from 30 November 1950 to March 1951 and from 27 June to 24 August 1951
 * 80th Fighter Squadron operating P-51s from 27 October to 20 December 1950

Other UN units based at Gimpo (Kimpo) included:
 * No. 77 Squadron RAAF operating Gloster Meteors from June 1951

On 21 September 1953, North Korean pilot No Kum-Sok defected in his MiG-15, landing at Gimpo.

International era

In 1958, the airport was redesignated as the Gimpo international airport of Seoul by a presidential decree, completely replacing the existing Yeouido Airport.

Following the construction of Gimpo, Yeouido Airport was demolished. Gimpo soon became the main airport of Seoul, and of South Korea in general. In 1971, a new, combined domestic and international terminal was opened. However, following the opening of what was known as Terminal 1 in 1977, the original combined terminal was converted to domestic flights only. Later, Terminal 2 was opened due to the 1988 Summer Olympics.

Gradually, Gimpo began to have more flights than it was capable of handling. After about 1980, it experienced numerous problems due to its lack of space for expansion. An additional problem was South Korea's overnight curfew (midnight to 4 am), a security measure that was in effect for decades. The curfew, which severely limited the airport's night operations, was finally abolished in 1982.

Eventually, the South Korean government decided to build a new airport. The facility was initially planned to be in Cheongju, 124 km away from Seoul, but that idea was strongly opposed by the citizens of Seoul and Gyeonggi Province, due to the inconvenience it would pose to them. (It would have been farther from Seoul than the 80 km distance between Viracopos Airport in Campinas, Brazil, and the city of São Paulo.) Finally, Yeongjong Island, a part of the city of Incheon, slightly west of Seoul, was chosen for the new airport, which later came to be known as Incheon International Airport. All bigger scale international flights were moved to Incheon when it opened in 2001.

Post-Incheon-activation era
"Shuttle" flights to Haneda Airport in Tokyo started in November 2003 on a charter basis, cutting 30 minutes or more of ground transportation at each end in an attempt to attract business travelers. This "city to city" route was followed by new routes to Hongqiao Airport in Shanghai starting in October 2007, Kansai Airport in Osaka starting in 2008, Beijing starting in July 2011, and Songshan Airport in Taipei starting in April 2012. Total international passenger numbers at Gimpo rose from under one million in 2005 to over four million by 2012. Most services to Osaka and Beijing also operate from Incheon Airport.

The Haneda-Gimpo route was suspended in 2020 due to the COVID-19 pandemic, but resumed in June 2022 with eight weekly roundtrips, and recovered to 84 weekly roundtrips by the end of 2022 as entry restrictions were lifted. On 26 March 2023, the Haneda-Incheon services resumed with two daily roundtrips a week with Korean Air and Peach with Asiana Airlines resuming the route on 1 May 2023 with 7 daily roundtrips a week.

Korea Airports announced an expansion and remodeling of the terminals in 2013, adding new gates and security checkpoints. In 2017, the South Korean government announced that a new terminal would be built to meet growing domestic traffic.

Gimpo currently has two runways (3600 × 45 m and 3200 × 60 m), two passenger terminals, and one cargo terminal.

Routes
In 2022, the ranking of three international destinations from Gimpo International Airport are as follows:

In 2022, the ranking of domestic destinations from Gimpo International Airport are as follows:

Other facilities
Korea Airports Corporation (KAC) has its headquarters on the airport property.

The Aviation and Railway Accident Investigation Board (ARAIB) has its FDR/CVR Analysis and Wreckage Laboratory on the property of the airport. When the predecessor agency Korea Aviation Accident Investigation Board (KAIB) existed, its CVR/FDR and wreckage laboratory was located on the airport property.

Railway
On 23 March 2007 the AREX airport express line started operations to Incheon International Airport, with an extension to Seoul Station which opened in December 2010. Seoul Subway Line 9 also links the airport to the Gangnam area. For many years, the airport was served by the Gimpo Line, a railway line that no longer exists. In the 1990s, Seoul Subway Line 5 was extended to Gimpo Airport. In 2019, the Gimpo Goldline began service to the airport. On 1 July 2023, the Seohae Line began service to the airport.

Roadway
Gimpo International Airport is connected to Incheon International Airport by Incheon International Airport Expressway via Gimpo Airport Interchange.

Some others road also linked Gimpo Airport with Seoul and nearby province including National Route 39, National Route 48, Olympic-daero and Seoul City Route 92 (Nambu Beltway).

Accidents and incidents

 * On 22 February 1957, a USAF Douglas C-124 Globemaster II crashed near SEL after takeoff because of a prop/turbine blade separation, resulting in a forced landing in the Han River. Out of a total of 159 passengers and crew on board, 21 were killed.
 * On 19 November 1980, Korean Air Lines Flight 015, a Boeing 747-200 landed short of the runway, ripping off all main landing gear, causing the aircraft to skid to a stop on the nose wheel and outer 2 engines starting a fire. 15 of the 226 total occupants were killed, including the First Officer and Captain.
 * On 14 September 1986, a bomb blast occurred outside a terminal building, killing five people and wounding 36. The attack was blamed on North Korea as an attempt to disrupt the 1986 Asian Games starting 6 days later.
 * On 25 November 1989, Korean Air Flight 175, a Fokker F28-4000 en route to Gangneung Airport stalled and crashed right after takeoff, killing one person and wounding 40 people.
 * On 5 August 1998, Korean Air Flight 8702, a Boeing 747-400 rolled off the runway upon touchdown and slid into a ditch, resulting in the destruction of the aircraft's undercarriage and the fuselage being split. All 395 of the total occupants survived and the aircraft was written off.

title: Gimpo International Airport


text:
Penn & Teller

Penn & Teller, Penn Jillette and Teller, are American magicians, entertainers, and scientific skeptics who have performed together since the late 1970s. They are noted for their ongoing act that combines elements of comedy with magic.

The duo has been featured in numerous stage and television shows such as Penn & Teller: Fool Us and currently perform in Las Vegas at The Rio, the longest-running headliners to play at the same hotel in Las Vegas history. Penn Jillette serves as the act's orator and raconteur. Teller generally does not speak while performing, and instead communicates through mime and nonverbals, though his voice can occasionally be heard during their live shows and television appearances. Besides magic, the pair has become associated with the advocacy of scientific skepticism and libertarianism, particularly through their television show Penn & Teller: Bullshit!

Career
Penn and Teller were introduced to each other by Wier Chrisemer, and they performed their first show together at the Minnesota Renaissance Festival on August 19, 1975. From the late 1970s through 1981, Penn, Teller, and Chrisemer performed as a trio called "The Asparagus Valley Cultural Society", which played in Philadelphia’s Walnut Street Theater, and in San Francisco, California, at the Phoenix Theater. Chrisemer helped to develop some bits that continued, most notably Teller's "Shadows" trick, which involves a single red rose. The group disbanded in 1981 after Chrisemer quit show business, leaving Penn Jillette and Teller to work as a pair on a show called "Mrs. Lonsberry's Seance of Horror".

By 1985, Penn & Teller were receiving positive reviews for their Off Broadway show and Emmy Award–winning PBS special Penn & Teller Go Public. In 1987, they began the first of three Broadway runs. The same year, they appeared as three-card Monte scam artists in the music video for "It's Tricky" by Run-DMC. Through the late 1980s and early 1990s, the duo made numerous television appearances on Late Night with David Letterman and Saturday Night Live, as well as The Tonight Show with Jay Leno, Late Night with Conan O'Brien, Today, and others.

Penn & Teller had national tours throughout the 1990s, gaining critical praise. They have also made television guest appearances on Babylon 5 (as the comedy team Rebo and Zooty), The Drew Carey Show, a few episodes of Hollywood Squares from 1998 until 2004, ABC's Muppets Tonight, FOX's The Bernie Mac Show, an episode of the game show Fear Factor on NBC, NBC's The West Wing, in a two-part episode of the final season of ABC's Home Improvement in 1998, four episodes during season 1 of Sabrina, the Teenage Witch in 1996, NBC's Las Vegas, and Fox's The Simpsons episodes "Hello Gutter, Hello Fadder" and "The Great Simpsina" and the Futurama film Futurama: Into the Wild Green Yonder in 2009. They appeared in the music video for Katy Perry's 2009 single "Waking Up in Vegas", in which they are thrown out of a hotel room by Perry.

Penn and Teller made an appearance on Bill Nye the Science Guy season 2, episode 7 - "Light Optics".

From 2003 to 2010, their Showtime television show Bullshit! took a skeptical look at psychics, religion, the pseudoscientific, conspiracy theories, and the paranormal. It has featured critical segments on gun control, astrology, Feng Shui, environmental issues, PETA, weight loss, the Americans with Disabilities Act, and the war on drugs.

The pair have written several books about magic, including Penn & Teller's Cruel Tricks For Dear Friends, Penn & Teller's How to Play with Your Food, and Penn & Teller's How to Play in Traffic. Since 2001, Penn & Teller have performed in Las Vegas at the Rio All Suite Hotel and Casino.

Penn Jillette hosted a weekday one-hour talk show on Infinity Broadcasting's Free FM radio network from January 3, 2006, to March 2, 2007, with cohost Michael Goudeau. He also hosted the game show Identity, which debuted on December 18, 2006, on NBC.

Their television series Penn & Teller Tell a Lie premiered on the Discovery Channel on October 5, 2011.

Since 2010, Penn & Teller have hosted Penn & Teller: Fool Us, originally on ITV, moving to The CW in 2015.

Penn & Teller credit magician and skeptical activist James Randi for their own careers. During an interview at TAM! 2012, Penn stated that Randi's book Flim-Flam! was an early influence on him, and said that "If not for Randi there would not be Penn & Teller as we are today."

In early 2022, Penn and Teller competed in season seven of The Masked Singer as "Hydra" of Team Bad. Because of Hydra's three-legged design and large size, the costume had to be assembled back stage while "Hydra" had to be wheeled out on a special platform to get it to and from the stage. Penn operated the left side of "Hydra" while Teller operated the right side of "Hydra". They were eliminated on the week of April 6 where it was shown that Teller used a puppet of a rabbit in a hat to "operate" the central head of "Hydra". Teller was given most of the singing due to how rarely people hear his voice and the possibility of people recognizing Penn's voice. Nicole Byer, who was the guest panelist of the night, successfully guessed the duo to be underneath the "Hydra" masks.

Off-stage relationship
Jillette stated in a video where he and Teller responded to questions from members of Reddit, and also in a video interview for Big Think, that while he and Teller share few interests outside magic, Teller is his best friend, and his children treat Teller as a close relative. He stated that while most entertainment partnerships such as Martin and Lewis and Lennon–McCartney were based on a deep affection for each other that lends to a certain volatility when things go wrong, their business relationship and friendship is based on a respect for each other. Teller has made similar statements. In an NPR interview, Teller said their disagreements often lead to better artistic decisions because they bring out new ideas and expand the range of discussion.

Honors
On April 5, 2013, Penn & Teller were honored with the 2,494th star on the Hollywood Walk of Fame for their achievement in the category of Live Performance. Their star is a few steps away from the star of Harry Houdini and down the street from The Magic Castle. However, they were refused membership of The Magic Circle due to their tendencies to reveal how magic tricks are done during performances.

The duo received a Writers Guild of America Award for Penn & Teller: Bullshit!. They have been nominated for 11 Emmy Awards winning one, in 1985, for Penn & Teller Go Public. In 2017, Penn & Teller: Fool Us was nominated for a Critic's Choice Award.

In 2003, Penn & Teller received the Emperor Has No Clothes Award, which celebrates "plain speaking" on the shortcomings of religion by public figures. In 2005, they were awarded the Richard Dawkins Award, an award given to people who raised public consciousness of atheism in the previous year. They are also recipients of a Hugh M. Hefner First Amendment Award.

In 2014, they were nominated for a BAFTA Award for their documentary Tim's Vermeer.

For their contributions to the West End production Magic Goes Wrong with Mischief Theatre, they were nominated for a 2020 Olivier Award.

Tricks
Penn & Teller material varies from light-hearted gags such as graphic tricks and clever pranks to tackling issues through political satire and by exposing frauds. Many of their past effects relied heavily on shock appeal and fantasy violence, although presented in a humorous manner. Some of their more daring tricks included Teller hanging upside-down over a bed of spikes in a straitjacket, Teller submerged in a glass tank of water, and Teller being run over by an 18-wheel tractor-trailer. Penn & Teller will often present tricks that they initially appear to have botched, in the "trick gone wrong" vein.

Sometimes, the pair will claim to reveal a secret of how a magic trick is done, but those tricks are usually invented by the duo for the sole purpose of "exposing" the method to the audience, and therefore designed with more spectacular and theatrical methods than would be practical in a "conventional" magic trick. For example, during their NBC Off the Deep End special, an escape act was performed where Teller was placed into a wooden box that was then put into shark-infested waters. The live audience believed Teller to be inside, but the television audience was shown that Teller escaped the box through a trapdoor in the bottom before it was placed in the water. He continued to read a magazine and eat a snack while awaiting his cue. Often a trick will be presented as if to explain it to the audience, only for a more elaborate version to be performed. In a segment of Bullshit!, Penn & Teller demonstrate the illusion of sawing a woman in half, only for the saw to fall and "accidentally" cut the woman in half again.

Penn & Teller perform their own adaptation of the famous bullet catch illusion. Each simultaneously fires a gun at the other through small panes of glass and then "catches" the other's bullet in his mouth. They also have an assortment of card tricks in their repertoire, virtually all of them involving the force of the Three of Clubs on an unsuspecting audience member as this card is easy for viewers to identify on television cameras.

The duo will sometimes perform tricks that discuss the intellectual underpinnings of magic. One of their routines, titled "Magician vs. Juggler," features Teller performing card tricks while Penn juggles and delivers a monologue on the difference between the two: jugglers start as socially aware children who go outside and learn juggling with other children; magicians are misfits who stay in the house and teach themselves magic tricks out of spite. In "King of Animal Traps", Penn narrates a story of his childhood fascination with various kinds of mechanical traps as Teller, representing Penn's younger self, sets and then triggers each of the traps in progressively more (seemingly) dangerous ways.

In one of their most politically charged tricks, they make an American flag seem to disappear by wrapping it in a copy of the United States Bill of Rights, and apparently setting the flag on fire, so that "the flag is gone but the Bill of Rights remains". The routine may also feature the "Chinese bill of rights", presented as a transparent piece of acetate. They normally end the trick by restoring the unscathed flag to its starting place on the flagpole; however, on a TV guest appearance on The West Wing, this final part was omitted. The methods of the trick were revealed by the duo in an episode of Fool Us.

One trick involves a powered nail gun with a quantity of missing nails from the series of nails in its magazine. Penn begins by firing several apparently real nails into a board in front of him. He then proceeds to fire the nail gun into the palm of his hand several times, while suffering no injuries. His pattern builds as he oscillates between firing blanks into his hand and firing nails into the board, and fires one blank into Teller's crotch. Near the end of the trick, he says that it is a trick and that he and Teller believe that it is morally wrong to do things on stage that are really dangerous—it makes the audience complicit in unnecessary human risk.

A trick introduced in 2010 is a modern version of the bag escape, replacing the traditional sack with a black trash bag apparently filled with helium. Teller is placed in the bag which is then pumped full of helium and sealed by an audience member. For the escape, the audience is blinded by a bright light for a second and when they are able to see again, Teller has escaped from the bag and Penn is holding it, still full of helium, above his head, before releasing it to float to the ceiling. The duo had hoped to put the trick in their mini-tour in London; however, it was first shown to the public in their Las Vegas show on August 18, 2010. In June 2011, Penn & Teller performed this trick for the first time in the United Kingdom on their ITV show Fool Us.

In one of their TV appearances on The Tonight Show, they performed a trick that involved all members of the audience. Each person received four cards which were torn apart and "mixed" so as to have two out of the eight halves selected in a process that seems random, as each person has freedom of moves throughout the process. Yet in the end, everyone ends up with two halves of the same card. Some mathematicians made a deep analysis of the trick and generalized it so it would work with any number of initial cards, using mathematical induction; their complete analysis was published in the Journal of Magic Research.

Politics and personal lives
On Bullshit!, the duo described their social and political views as libertarian. In addition to disbelief in the paranormal and pseudoscience, Penn & Teller also take a view of doubtfulness to government authority. In various episodes of their show, they have heavily criticized both the Internal Revenue Service and the Environmental Protection Agency, as well as taken stances against circumcision and gun control, and in support of ideas such as freedom to eat fast food, private property, and lower taxes. Penn & Teller were both H. L. Mencken research fellows with the Cato Institute, a libertarian think-tank and research organization. Penn disavowed libertarianism in 2020 and is no longer affiliated with the Cato Institute.

Penn & Teller have shown support for the Brights movement and are now listed on the movement's website under the Enthusiastic Brights section.

They have described themselves as teetotalers. Their book, Penn & Teller's How to Play in Traffic, explains that they avoid alcohol, drugs, and caffeine, although they do smoke cigarettes in some videos.

Books
Penn & Teller: Penn without Teller: Teller without Penn:
 * Penn & Teller's How to Play in Traffic (1997, ISBN 1-57297-293-9)
 * Penn & Teller's How to Play with Your Food (1992, ISBN 0-679-74311-1)
 * Penn & Teller's Cruel Tricks for Dear Friends (1989, ISBN 0-394-75351-8)
 * Sock (2004, ISBN 0-312-32805-2)
 * How to Cheat Your Friends at Poker: The Wisdom of Dickie Richard (2006, ISBN 0-312-34905-X; Co-author: Mickey D. Lynn)
 * God, No!: Signs You May Already Be an Atheist and Other Magical Tales (2011, ISBN 1451610378)
 * Every Day is an Atheist Holiday!: More Magical Tales from the Author of God, No! (2012, ISBN 1469276887)
 * Presto!: How I Made Over 100 Pounds Disappear and Other Magical Tales (2016, ISBN 1501140183)
 * When I'm Dead All This Will Be Yours: Joe Teller—A Portrait by His Kid (2000, ISBN 0-922233-22-5)

Music

 * "Penn & Teller Present: Music to Look at Boxes By" (With Mike "Jonesy" Jones)
 * "It's Tricky" by Run–D.M.C. (Penn & Teller shown throughout the video and at the end appear to take over the persona of Run–D.M.C.)
 * "Something to Believe In" by The Ramones (Penn & Teller are seen supporting the fictitious "Hands Across Your Face" charity)
 * "Waking up in Vegas" by Katy Perry (Penn & Teller are kicked out of their hotel room by Perry and her boyfriend.)
 * "This Time I've Got It" by The Great Tomsoni & Co. (Penn & Teller in lab coats, Penn playing bass guitar)
 * "Donna Everywhere" by Too Much Joy (Teller directed the video which features the band spending their entire budget as the video plays out. Teller features as a security guard and Penn as the band's representative)

Video games

 * Penn & Teller's Smoke and Mirrors 1995 – Absolute Entertainment for Sega CD & 3DO (unreleased)
 * Steven Spielberg's Director's Chair 1996 – Knowledge Adventure for PC & Mac – As Leroy Paine and Sigmund Terrore
 * Sabrina, the Teenage Witch: Spellbound 1998 – Simon & Schuster for PC – Voices for Drell & Skippy
 * Penn & Teller VR: Frankly Unfair, Unkind, Unnecessary, & Underhanded 2019 – Gearbox Software for PC
 * Borderlands 3 2019 – Gearbox Software for PS4, Xbox One & PC - Voices for Pain & Terror

The 1995 video game Penn & Teller's Smoke and Mirrors featured a mini-game called Desert Bus in which the player drove a bus route between Tucson and Las Vegas. Once reaching the destination, the player gets one point and, if desired, can then drive the return route. The game was considered by some to be long and boring yet found a cult audience. The entire set of games was actually more of a collection of tricks and pranks, rather than games meant to be actually good to play. Both in-game and in interviews Penn states that Desert Bus was a reaction to the controversy of violent video-games going on at the time. In essence making fun of this controversy, by creating a simulator "stupefyingly like reality". The game has since been used in an annual charity event called "Desert Bus for Hope" run by the Canadian internet comedy troupe LoadingReadyRun. The fundraiser involves members of LoadingReadyRun (and occasional guests) playing the game and streaming that live online, while interviewing celebrities via Skype and accepting challenges for the audience, with all proceeds being donated to Child's Play. On November 14, 2011, an iOS port of Desert Bus was created and released in the iTunes Store. The game was developed in conjunction with the Desert Bus For Hope event and all profits from the game are donated to charity.

Attractions

 * "Penn & Teller: New(kd) Las Vegas 3D" was a 2012 Halloween Horror Nights maze collaborated at Universal Orlando. It featured a backstory of Las Vegas being destroyed by Penn & Teller's latest magic trick involving a nuclear warhead gone wrong.

Theatre

 * Magic Goes Wrong - a 2019 comedy play in collaboration with Mischief Theatre following their highly-successful West End and Broadway hit The Play That Goes Wrong.

title: Penn & Teller


text:
Intermedia

Intermedia is an art theory term coined in the mid-1960s by Fluxus artist Dick Higgins to describe the strategies of interdisciplinarity that occur within artworks existing between artistic genres. It was also used by John Brockman to refer to works in expanded cinema that were associated with Jonas Mekas' Film-Makers’ Cinematheque. Gene Youngblood also described intermedia, beginning in his Intermedia column for the Los Angeles Free Press beginning in 1967 as a part of a global network of multiple media that was expanding consciousness. Youngblood gathered and expanded upon intermedia ideas from this series of columns in his 1970 book Expanded Cinema, with an introduction by Buckminster Fuller. Over the years, intermedia has been used almost interchangeably with multi-media and more recently with the categories of digital media, technoetics, electronic media and post-conceptualism.

Characteristics
The areas such as those between drawing and poetry, or between painting and theatre could be described as intermedia. With repeated occurrences, these new genres between genres could develop their own names (e.g. visual poetry, performance art); historically, an example is haiga, which combined brush painting and haiku into one composition.

Dick Higgins described the tendency of what he thought was the most interesting and best in the new art to cross boundaries of recognized media or even to fuse the boundaries of art with media that had not previously been considered for art forms, including computers.

"Part of the reason that Duchamp's objects are fascinating while Picasso's voice is fading is that the Duchamp pieces are truly between media, between sculpture and something else, while a Picasso is readily classifiable as a painted ornament. Similarly, by invading the land between collage and photography, the German John Heartfield produced what are probably the greatest graphics of our century ..."

With characteristic modesty, Dick Higgins often noted that Samuel Taylor Coleridge had first used the term.

Academia
In 1968, Hans Breder founded the first university program in the United States to offer an M.F.A. in intermedia. The Intermedia Area at The University of Iowa graduated artists such as Ana Mendieta and Charles Ray. In addition, the program developed a substantial visiting artist tradition, bringing artists such as Dick Higgins, Vito Acconci, Allan Kaprow, Karen Finley, Robert Wilson, and others to work directly with Intermedia students. Two other prominent University programs that focus on intermedia are the Intermedia program at Arizona State University and the Intermedia M.F.A. at the University of Maine, founded and directed by Fluxus scholar and author Owen Smith. Additionally, the Roski School of Fine Arts at the University of Southern California features Intermedia as an area of emphasis in their B.A. and B.F.A. programs. The University of Maryland, Baltimore County offers an M.F.A. in Intermedia and Digital Art. Concordia University in Montreal, QC offers a B.F.A. in Intermedia/Cyberarts. Herron School of Art and Design, Indiana University, Purdue University, Indianapolis, has a M.F.A. Program with Photography and Intermedia degrees. The University of Oregon offers a Master of Music degree in Intermedia Music Technology. The Pacific Northwest College of Art offers a B.F.A. in Intermedia.

In the United Kingdom, Edinburgh College of Art (within the University of Edinburgh) introduced a BA (Hons) Degree in Intermedia Arts, and intermedia can be a focus of study in Masters programmes. The Academy of Fine Arts [AVU] in Prague offers a Masters in Intermedia Studies founded by Milan Knížák and The Hungarian University of Fine Arts has an Intermedia Program.

title: Intermedia