text:
Talk:Shirley Temple (drink)

Ingredients
This article lists the version made with lemon-lime soda as the default or "standard" Shirley Temple, but most recipes I have seen use ginger ale as the base and list lemon-lime soda as a variant. Does anyone know which version is more common? If it is ginger ale, the article should be changed to reflect that. Sara 17:16, 8 Mar 2004 (UTC)

 * Well, maybe it's a regional thing, but everyone I asked said a Shirley Temple was "Seven-Up and Grenadine". I did a web search when I was working on this article and the results overwhelmingly gave the version I listed as standard. I found some mention of ginger ale, but mostly in the context of the "Ginger-ale and OJ with Grenadine" version. -- Logotu 18:21, 8 Mar 2004 (UTC)

 * I only know what I've read on webtender.com, drinksmixer.com, and a few similar sites whose names I can't remember -- their recipes universally use ginger ale, and list the version with lemon-lime soda under the name "Kiddie Cocktail" (which is a fairly awful name, IMO). Actually, I was a little surprised when I first saw this (I know for a fact that the Shirley Temples they served when I was a kid were made with 7-Up), but since there seemed to be a consensus I figured ginger ale was the standard.

 * Perhaps the information in these web guides is derived from a common, and in this instance erroneous, source -- that seems to me the most plausible explanation for how so many of the sites could share information that is at variance with how the drink is usually made. Sara 22:42, 9 Mar 2004 (UTC)

I've tried to keep the lemon-lime nonsense out of the main description of this article for a long time, but I'm giving up. The drink is made with ginger ale. It always has been, and it always will be. There is no credible evidence otherwise. The mention of lemon-lime soft drink has slowly crept into the situation by countless ignorant people. Upon tasting the drink, most assume a lemon-lime base and even bartenders get tricked into this trap. It is ginger ale. There is no lemon-lime anything. Alas, I give up.

BenFenner (talk) 18:50, 13 July 2011 (UTC)

Place of invention
This article claims that the Temple cocktail was invented "by a bartender at Chasen's restaurant in Beverly Hills, CA." Shirley Temple claims the cocktail was invented "at the Royal Hawaiian Hotel in Waikiki, Hawaii, where she often stayed." Which one is it? 64.40.61.191 03:10, 28 May 2006 (UTC)

 * Well, I certainly can't imagine her being a regular at a Canadian gay bar, as the article says now. Kaesa 03:04, 25 May 2007 (UTC)

I think when Shirley was a kid there was no 7up or lemon soda so how they have it with lemon soda —Preceding unsigned comment added by 71.167.81.239 (talk) 06:54, 3 October 2010 (UTC)

Question
If this refreshment is non-alcoholic as this article claims it to be, how did I get crunk of consuming one glass of it? —The preceding unsigned comment was added by 74.208.9.221 (talk • contribs).

Well, since colored boys and wiggers are the only people who use the ghetto term "crunk", the answer is, probably you were high on weed or "malt likka" before you drank your ST. — Preceding unsigned comment added by 71.48.0.67 (talk) 23:55, 21 September 2018 (UTC)

Variations
Since there is a variations section to the article, the main description should stick to the classic description of the drink.

I'll remove all variation from the main, and add them to variation.

Also the variations should not include the description of the original.. The original is, by definition, not a variation.

Vmerling (talk) 17:37, 24 February 2009 (UTC)

Page name
I have never heard this drink referred to as a Shirley Temple cocktail, only as a Shirley Temple. I know this needs to be a distinct article from Shirley Temple the actress, but I think the best page name for this article would be "Shirley Temple (cocktail)", since the word cocktail is only for disambiguation, and is not part of the drink's actual name. However, I am no expert, so perhaps someone who knows more about the drink could confirm that this assertion is correct before we move the page. leevclarke (talk) 16:33, 4 August 2009 (UTC)

Why is this drink called a "cocktail," when the definition of a cocktail includes alcohol? — Preceding unsigned comment added by 174.61.214.56 (talk) 06:56, 8 July 2012 (UTC)
 * Good point, although I suppose it could be argued that a Shirley Temple can qualify as a "cocktail", as some types of grenadine do contain a negligible amount of alcohol. I'm going to move it to "Shirley Temple (drink)" and see if anyone objects. Joefromrandb (talk) 22:05, 23 February 2014 (UTC)
 * I actually went with "Shirley Temple (beverage)", which I think is better yet. I also managed to fuck things up with an unintentional misspelling; note that in the move-history, the summary "you're an idiot" is directed at Joe from R&B. Joefromrandb (talk) 22:18, 23 February 2014 (UTC)

Ingredients
Regardless of whether chasen's or royal hawaiian invented this drink they both are specific in its ingredients being 2-1 ginger ale and orange juice with grenadine and marascino cherry garnish. The lemon lime soda variation isn't really a shirley temple at all. It's sometimes referred to as a kiddie cocktail which also omits the orange juice. I've changed the article to reflect this. How this debate went on this long when both contended creators have cited identical recipes is beyond me. — Preceding unsigned comment added by Tybodger (talk • contribs) 01:17, 5 November 2012 (UTC)

Shirley Temple drink.
Since 1974 that far back as I can remember I have had Shirley Temple drinks made for me in restaurants, and my father made them at home for me as well. They were always made with 7Up and grenadine. This is the original recipe made for Shirley Temple! Any other combination was not accurate and wrong! FYI my father was born in 1930's and he definitely knows. Since back in the 1970's it was popular to have a bar at your house. My father was our bartender. 2600:1012:B188:1474:487:5608:CF95:798A (talk) 04:56, 18 December 2022 (UTC)

 * We hear this a lot, and we do understand! I find it really difficult myself to sit down with Google and actually find a concrete, historical accounting of the recipe. Of the modern sources we do have, they seem to be in really consistent agreement that the 1930's recipe was one of ginger-ale and grenadine, and I think that's very likely what it was in that era -- but ultimately, being such a simple and well-known way to mix up a drink, I'm not sure there is such a thing as a definitive recipe. 7-up and grenadine is also always going to be known as a Shirley Temple too!
 * Anyways, enjoy your holiday! 2601:405:8400:283:2DAF:ABCB:2CB:6044 (talk) 10:47, 27 December 2022 (UTC)

Non-Alcoholic?
Is anyone else confused as to why the article refers to it as a non-alcoholic drink? Most restaurants I’ve been to serve it as an alcoholic drink and you have to specifically ask for it to be virgin. 2600:8805:3E1E:4C00:F1D2:BB7A:25BD:572C (talk) 16:39, 16 January 2024 (UTC)

title: Talk:Shirley Temple (drink)


text:
Talk:Outer measure

Comments
It turns out the second and third requirements together for all sets are incompatible conditions

 * I'm not sure this is true. Counting measure is a counterexample. I think if you include the first requirement as well (which should imply translation invariance) then the measure cannot be defined for all subsets. Also, is outer measure something which can be defined on (the power set of) any set?, or just Euclidean spaces? Revolver 17:17, 8 Mar 2004 (UTC)

 * Counting measure is a counterexample + it is translation invariant, but, of course, it does not measure length, area, volume, et. c. -- Leocat 18:36, 31 October 2006 (UTC)

Measurable sets
In the section "Formal definitions" you state: "A subset E of X is φ-measurable iff for every subset A of X : $$\varphi(A)= \varphi(A\cap E) + \varphi(A\setminus E). $$"

What if the set A is not measurable?

-- Leocat 18:36, 31 October 2006 (UTC)

 * The definition (due to Caratheodory) explicitly quantifies over all subsets of X. What's the problem?--CSTAR 18:45, 31 October 2006 (UTC)

If the set A is not measurable and contained in E, then $$\varphi(A\cap E)$$ is not defined. -- Leocat 11:07, 1 November 2006 (UTC)

 * The definition says

 * An outer measure is a function defined on all subsets of a set X
 * $$\varphi: 2^X \rightarrow [0, \infty] $$
 * such that some additional conditions (countable subadditivity etc.) hold. Therefore $$\varphi(A\cap E)$$ is defined for any subset A of X. This is the standard definition; please look at any of the cited refernces. --CSTAR 15:06, 1 November 2006 (UTC)

 * However, it may be useful to know that if the outer measure is defined using method I, then it suffices to test only A from C. — Emil J. 16:17, 6 August 2009 (UTC)

A mistake?
Let's see the sentence "Let X be a set, C a family of subsets of X which contains the empty set and p an extended real valued function on C which vanishes on the empty set" in the first of the section "Construction of outer measures". It seems that the words "p an extended real valued function" should be read as "p an extended nonnegative real valued function". —Preceding unsigned comment added by Ptnam373 (talk • contribs) 20:51, 7 July 2009 (UTC)

 * Right. — Emil J. 16:17, 6 August 2009 (UTC)

translation invariance
I think that really all 4 conditions are needed in the "motiviation" section. The zero function satisfies everything except the first condition, and if there is a real-valued measurable cardinal then Lebesgue measure can be extended to a total measure. --Aleph4 (talk) 15:53, 11 August 2010 (UTC)

Definition
I noticed that there is probably some redundancy in the definition. I suspect that one can replace the three requirements by the following:

 * Countable subadditivity: Whenever {Uj} is a countable collection of sets such that
 * $$ A \subset \bigcup_j U_j, $$

then
 * $$ \varphi(A) \leq \sum_j \varphi(U_j).$$

This definition is more economical, and has the advantage that it can be sourced to an excellent reference, namely Geometric Measure Theory by Herbert Federer. Economy in definitions is probably appropriate when it comes to "lowlevel mathematics". (This definition is obtained through a slight generalization of Caratheodory's original definition; Federer omits Caratheodory's requirement of additivity for disjoint sets.) YohanN7 (talk) 15:34, 16 July 2013 (UTC)

Confusing claim about area
In the section "Measurability of sets relative to an outer measure", the article first gives the definition of measurability:

 * One says that a subset $$E$$ of $$X$$ is $$\mu$$-measurable (sometimes called Carathéodory-measurable relative to $$\mu,$$ after the mathematician Carathéodory) if and only if

$$\mu(A) = \mu(A \cap E) + \mu(A \setminus E)$$
 * for every subset $$A$$ of $$X.$$

It then says:

 * One might then expect that every subset of the plane would be deemed "measurable," following the expected principle that

$$\operatorname{area}(A \cup B) = \operatorname{area}(A) + \operatorname{area}(B)$$
 * whenever $$A$$ and $$B$$ are disjoint subsets of the plane.

I am having trouble seeing how these two formulas relate to one another. Does the second one imply the first somehow? If so it would be great to include a more precise statement and a proof, since this seems like it would give a really nice intuitive motivation for the definition.

(Maybe something along the lines of "if $$\mu(A) + \mu(B) = \mu(A\cup B)$$ for all disjoint A and B, then all sets are $$\mu$$-measurable"? Or even "A is $$\mu$$-measurable if and only if for every B disjoint from A we have $$\mu(A) + \mu(B) = \mu(A\cup B)$$"? But I don't immediately see why either of these would be true.)

In its present form I think this claim is just confusing, as it implies some kind of relationship between the area rule and Carathéodory-measurability but doesn't really explain what it is.

Nathaniel Virgo (talk) 08:13, 24 June 2023 (UTC)

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

title: Talk:Outer measure


text:
Steven Pippin

Steven Pippin (born 1960 at Redhill, Surrey) is an English photographer and installation artist. Pippin works with converted or improvised photographic equipment and kinetic sculptures which are often based on physical models and are metaphors for social mechanisms.

Early life and education
Pippin's work shows a strong interest in the mechanical, which he has said stems from an early childhood memory of seeing his father surrounded by the wires and tubes of a television set he was repairing.

He studied in Mechanical Engineering at Charles Keen College, Leicester; Foundation Art & Design at Loughborough College, Leicestershire; Fine Art Sculpture at Brighton Polytechnic and Fine Art Sculpture at Chelsea School of Art, London

During his student days he was selected for the DAAD scholarship (German Academic Exchange Service)

From the beginning of his career, his works focused on creating atmospheric photographs by converting every day object into provisional pin hole cameras. Later his photography became closer to science after making peace with this type of disciplines."I hated it because my father and grandfather were engineers... I've gone back to technology now, but for a long time I didn't touch it; I blocked it. I tried making gears out of cardboard when I already had the knowledge to machine the parts!"

Artistic career
Pippin's early work was based on converting furniture and everyday objects into makeshift pinhole cameras which he then used to take sympathetic photographs. Sympathetic photography, as seen through photographer Allan Sekula (1951-2013) using photography not only for an aesthetic purpose but as a tool to show injustices and bodily suffering.

His work often involves a significant amount of planning to overcome the practical problems posed by the chosen object. Pippin typically has to plan and construct a significant amount of supporting equipment in order to achieve his pictures. Frequently the resulting photographs are distorted or otherwise compromised by the manner of their construction, but the imperfections are seen as an important characteristic of the image, giving a link back to the object which was used as a camera. The photographs are always shown alongside an image of the converted object, and for later works, much of the actual equipment used in the conversion along with supporting documentation.

Point Blank (2010)
Within the exhibition called A Non Event (Horizon) that took place from June 16, 2011 to October 2, 2011 at the CEAAC (Centre européen d'actions artistiques contemporaines) there is one of Steven Pippin's best-known works: Point Blank.

Throughout this series, the artist exhibits small and medium-sized analog cameras pierced by bullets along with some of the photos they took while the projectile was heading towards them, making his last photos capture the reason for its destruction. This project contains 20 images to date. It began in Wisconsin, USA and was continued in London later.

It is precisely the fact of obtaining perforated cameras and the symbology that accompanies them that makes this series such an interesting work. As a result, photographs are obtained with distorted and fractured images with organic ramifications that are reminiscent of the chemical process that accompanies analog photographs. In some of the images obtained we can see the bullet out of focus due to its speed.

Analogital (2008)
During the eighties, a transition occurred in the world of photography that brought with it a lot of controversy, dividing photographers between those who abandoned analog to switch to digital format and those who decided to stay with the traditional technique.

In this work, Steven Pippin seeks to reflect this change through a method that consists of simultaneously taking the same photograph with a digital and an analog camera. The image resulting from the synchronized shot is exposed divided in two, either by natural borders (typical of the landscape or element photographed) or artificial ones, separating the two formats.

The analog side is done using a C print, printed by hand; and the digital side is an inkjet print.

Non (2007)
This work is one of the most philosophical, in it we can see a CANON camera from which the artist has decided to delete the first two initials, a fact that is referenced in the title of the project itself. The lens of this camera is surrounded by a system of tubes and mirrors that rotate on the camera to focus on itself. This work lacks functionality and is based on self-reflection and absurdity.

Ω = 1 (2003 - 2014)
Our universe is theoretically, according to astrophysical theories, in a constant state of equilibrium between collapse through implosion and total explosion. Normally, physicists use a pencil as a metaphor to show this very delicate state of balance of forces, maintaining its balance supported only by its tip. For approximately 10 years Steven Pippin dedicated himself to devising a sculpture that could represent this metaphor.

The sculpture is based mainly on two lights that project the shadows of a 2B pencil on a metal plate where it is held. These shadows are monitored by sensors that, upon detecting the slightest change, modify the position of the plate where the pencil rests with a margin of 20 milliseconds and almost imperceptibly to avoid losing balance. Thus, the pencil remains upright without the help of anything other than its tip.

This work seems to stop time while keeping the viewer in a constant state of expectation and teaching us the fragility of balance.

Laundromat-Locomotion (1997)
The first images in this series were made in London in 1991. Later, in 1997, Pippin expanded his idea and moved it to a laundry room in New Jersey, where he placed photographic paper on each of the backgrounds of 12 washing machines that were attached to ropes of cotton. That ropes were activated in his path to capture him walking. As we can guess from the name, this work is a tribute to Animal Locomotion (1887) by Eadweard Muybridge. In this work, Muybridge tried to confirm or deny the following hypothesis: There is a moment in a horse's trot where none of its legs are in contact with the ground. To test this bet, Muybridge had a horse run in front of 12 cameras that were activated by ropes in its path, capturing snapshots of the movement.

Thanks to this, he not only managed to demonstrate that the hypothesis was indeed true, but also laid the foundations of cinema, motion photography, and if that were not enough, he helped the world in general to better understand the movement of the horse. Later he would do more projects capturing dances and everyday movements of human beings.

Pippin's tribute was even closer to the original images obtained by Muybridge because the washing machines were spinning at 500 rpm."(It gave the images) a certain degree of authenticity, making them look like a Muybridge original from a hundred years ago. The scratches on the surface of the negative become a substitute for time, an artificial aging process that gives the images an accidental air of authenticity."

title: Steven Pippin


text:
Kent Rominger

Kent Vernon "Rommel" Rominger (born August 7, 1956) is an American former astronaut, former NASA Chief of the Astronaut Office at Johnson Space Center, and a captain in the United States Navy. Rominger holds the Space Shuttle Orbiter flight time record with 1610 hours. He joined ATK Launch Systems Group in 2006 as Vice President of Advanced Programs.

Personal data
Kent Rominger was born August 7, 1956, in Del Norte, Colorado. He graduated from Del Norte High School in 1974. In 1978, he received a Bachelor of Science degree in Civil Engineering from Colorado State University, and in 1987 a Master of Science degree in Aeronautical Engineering from the U.S. Naval Postgraduate School. He and his wife Mary Sue have one daughter.

Naval service
Rominger received his commission through the Aviation Reserve Officer Candidate (AVROC) Program in 1979, and was designated a Naval Aviator in September 1980. Following training in the F-14 Tomcat, he was assigned to Fighter Squadron 2 (VF-2) from October 1981 to January 1985 aboard the aircraft carriers USS Ranger (CV-61) and USS Kitty Hawk (CV-63). While assigned to VF-2, Rominger attended the Navy Fighter Weapons School (TOPGUN). In 1987 he completed the Naval Postgraduate School/Test Pilot School Cooperative Program, and was assigned as F-14 Project Officer to the Carrier Suitability Branch of the Strike Aircraft Test Directorate at Naval Air Station Patuxent River, Maryland. During his tour of duty, Rominger completed the initial carrier suitability sea trials of the F-14B, logging the first aircraft carrier arrestment and catapult launch in the upgraded Tomcat. In September 1990, he reported to Fighter Squadron 211 (VF-211), where he served as Operations Officer and completed a Desert Storm Deployment to the Persian Gulf aboard USS Nimitz (CVN-68).

He has logged over 5,000 flying hours in over 35 types of aircraft and 685 carrier landings.

NASA career
Selected by NASA in March 1992, Rominger reported to the Johnson Space Center in August 1992. He completed one year of training and qualified for assignment as a pilot on future Space Shuttle flight crews. Rominger was initially assigned to work technical issues for the Astronaut Office Operations Development Branch. He also served as Chief of the Astronaut Office Shuttle Operations Branch, and deputy director, Flight Crew Operations. A veteran of five space flights, Rominger has logged over 1,600 hours in space These were all as a STS Orbiter crew member, the highest total in this category. He flew as pilot on STS-73 in 1995, STS-80 in 1996 and STS-85 in 1997, and was crew commander on STS-96 in 1999 and STS-100 in 2001. Rominger served as Chief of the Astronaut Office and professional head of the NASA Astronaut Corps from 2002 to 2006, responsible for the mission preparation activities of all Space Shuttle and future International Space Station crews and their support personnel.

Space flight experience
STS-73 in Space Shuttle Columbia (October 20 to November 5, 1995) was the second United States Microgravity Laboratory mission. The mission focused on materials science, biotechnology, combustion science, fluid dynamics, and numerous scientific experiments housed in the pressurized Spacelab module. In completing his first space flight, Rominger orbited the Earth 256 times, traveled over 6 million miles, and logged a total of 15 days, 21 hours, and 52 minutes in space.

STS-80, also in Columbia (November 19 to December 7, 1996) was a 17-day mission during which the crew deployed and retrieved the Wake Shield Facility (WSF) and the Orbiting Retrievable Far and Extreme Ultraviolet Spectrometer (ORFEUS) satellites. The free-flying WSF created a super vacuum in its wake and grew thin film wafers for use in semiconductors and other high-tech electrical components. The ORFEUS instruments, mounted on the reusable Shuttle Pallet Satellite, studied the origin and makeup of stars. In completing his second space flight, Rominger orbited the Earth a record 278 times, traveled over 7 million miles and logged 17 days, 15 hours and 53 minutes in space.

STS-85 in Space Shuttle Discovery (August 7–19, 1997) was a 12-day mission during which the crew deployed and retrieved the CRISTA-SPAS satellite, operated the Japanese Manipulator Flight Demonstration (MFD) robotic arm, studied changes in the Earth's atmosphere and tested technology destined for use on the future International Space Station. The mission was accomplished in 189 Earth orbits, traveling 4.7 million miles in 11 days, 20 hours and 27 minutes.

STS-96, also in Discovery, (May 27 to June 6, 1999) was a 10-day mission during which the crew delivered 4 tons of logistics and supplies to the International Space Station in preparation for the arrival of the first crew to live on the station. The mission included the first docking of a Space Shuttle to the International Space Station and was accomplished in 153 Earth orbits, traveling 4 million miles in 9 days, 19 hours and 13 minutes.

STS-100, in Space Shuttle Endeavour (April 19 to May 1, 2001) was a 12-day mission during which the crew installed the Canadian-built Robotic Arm and the Rafaello Logistics Module to the International Space Station. Endeavour was docked 8-days on the most complex robotics flight in the history of the Space Shuttle program and was made up of a very diverse international crew, representing the United States, Russia, Canada and Italy. The mission was completed in 187 Earth orbits, traveling 4.9 million miles in 11 days, 21 hours and 30 minutes.

Organizations
He is a member of the Association of Space Explorers, the Society of Experimental Test Pilots, the American Institute of Aeronautics and Astronautics, the Association of Naval Aviation, The Mars Generation, and the Chi Epsilon Civil Engineering Society.

Awards and honors
He has been awarded the Defense Superior Service Medal, the Distinguished Flying Cross, the Defense Meritorious Service Medal and the NASA Distinguished Service Medal. He is a Distinguished Graduate of the U.S. Naval Test Pilot School and was the Naval Air Test Center Test Pilot of the Year in 1988. He received the Society of Experimental Test Pilots Ray E. Tenhoff Award in 1990, the Jack Northrop Award in 1996, and the Colorado State University Distinguished Service Award in 1997. He was named West Coast Tomcat Fighter Pilot of the Year in 1992 and was listed in the Top Ten Carrier Landing Distinction in Airwings Two and Nine. In 2000 he was nominated and inducted into the Colorado Aviation Hall of Fame. He is an inductee into the United States Astronaut Hall of Fame.

title: Kent Rominger


text:
Cannibal Holocaust

Cannibal Holocaust is a 1980 Italian cannibal film directed by Ruggero Deodato and written by Gianfranco Clerici. It stars Robert Kerman as Harold Monroe, an anthropologist who leads a rescue team into the Amazon rainforest to locate a crew of filmmakers that have gone missing while filming a documentary on local cannibal tribes.

Produced as part of the contemporary cannibal trend of Italian exploitation cinema, Cannibal Holocaust was inspired by Italian media coverage of Red Brigades terrorism. Deodato believed the news reports to be staged, an idea which became an integral aspect of the film's story. Additional story elements were also influenced by the Mondo documentaries of Gualtiero Jacopetti, particularly the presentation of the documentary crew's lost footage, which constitutes approximately half of the film. The treatment of this footage, which is noted for its visual realism, innovated the found footage style of filmmaking that was later popularized in American cinema by The Blair Witch Project. Cannibal Holocaust was filmed primarily on location in the Amazon rainforest of Colombia with a cast of indigenous tribes interacting with mostly inexperienced American and Italian actors recruited in New York City.

Cannibal Holocaust achieved notoriety as its graphic violence aroused a great deal of controversy. After its premiere in Italy, it was ordered to be seized by a local magistrate, and Deodato was arrested on obscenity charges. He was later charged with multiple counts of murder due to rumors that claimed several actors were killed on camera. Although Deodato was cleared of these charges, the film was banned in Italy, Australia, and several other countries due to its graphic content, including sexual assault and genuine violence toward animals. Although some nations have since revoked the ban, it is still upheld in several countries. Critical reception of the film is mixed, although it has received a cult following. The film's plot and violence have been noted as commentary on journalism ethics, exploitation of South American countries, and the difference between Western and non-Western cultures, yet these interpretations have also been met with criticism, with any perceived subtext deemed hypocritical or insincere due to the film's presentation.

Plot
In 1979, an American film crew disappeared in the Amazon rainforest while filming a documentary about indigenous cannibal tribes. The team comprises director Alan Yates, scriptwriter Faye Daniels, and two cameramen, Jack Anders and Mark Tomaso.

Harold Monroe, an anthropologist at New York University, agrees to lead a rescue mission in hopes of finding the missing filmmakers. In anticipation of his arrival, military personnel stationed in the rainforest conduct a raid on the local Yacumo tribe and take a young man hostage to negotiate with the natives. Monroe flies in via floatplane and is introduced to his guides, Chaco and his assistant, Miguel. After several days of trekking through the jungle, the rescue team encounters the Yacumo. They arrange the release of their hostage in exchange for being taken to the Yacumo village. Once there, the group is initially greeted with hostility and learns that the filmmakers caused great unrest among the people.

The next day, Monroe and his guides head deeper into the rainforest to locate two warring endocannibal tribes, the Ya̧nomamö and the Shamatari. They encounter a group of Shamatari warriors and follow them to a riverbank, where Monroe's team saves a smaller group of Ya̧nomamö from death. The Ya̧nomamö invite the team back to their village in gratitude, but they are still suspicious of the foreigners. Monroe bathes naked in a river to gain their trust, where a group of Ya̧nomamö women joins him. The women lead Monroe from the river to a shrine, where he discovers the skeletal remains of the filmmakers with their film reels nearby. Shocked by what he sees, he confronts the Ya̧nomamö in the village, where he plays music from a tape recorder. The intrigued natives agree to trade it for the reels of film.

Back in New York, executives of the Pan American Broadcasting System invited Monroe to host a broadcast of the documentary to be made from the recovered film. Still, Monroe insists on viewing the raw footage before making a decision. One of the executives introduces him to Alan's work by showing an excerpt from his previous documentary, The Last Road to Hell, after which she informs Monroe that Alan staged dramatic scenes to get more exciting footage.

Monroe then begins to view the recovered footage, which follows the group's trek through the rainforest. After walking for days, their guide, Felipe, is bitten by a venomous snake. The group amputates Felipe's leg with a machete to save his life, but he dies and is left behind. Upon locating the Yacumo in a clearing, Jack shoots one in the leg so they can easily follow him to the village. Once they arrive, the crew proceeds to intimidate the tribe and kill a young child's pet pig before herding the natives into a hut, which they burn down to stage a massacre for their film. Monroe expresses apprehension about the staged footage and the treatment of the natives, but his concerns are ignored.

After he finishes viewing the remaining footage, Monroe expresses his disgust toward the station's decision to air the documentary. He shows the executives the remaining unedited footage that only he has seen to convince them otherwise. The final 2 reels begin with the filmmakers locating a Ya̧nomamö girl, whom the men take turns raping against Faye's protests, stating they are wasting film footage. A Ya̧nomamö man can be seen in the background stalking them as the incident occurs. They later encounter the same girl impaled on a wooden pole by a riverbank, where they claim that the natives killed her for loss of virginity, although it is implied that the group themselves killed her and staged it as a murder by the natives for dramatic effect.

Shortly afterward, they are attacked by the Ya̧nomamö tribe as revenge for the girl's rape and death. Jack is hit by a spear, and Alan shoots him to prevent his escape. The scene then moves to the crew filming the natives undressing Jack in their captivity and castrating him with a large machete before completely mutilating Jack's lifeless body. Thereafter, an exhausted Alan says they have gotten completely lost trying to escape and are now surrounded by the natives who pursued them. Alan attempts to scare them off with a flare gun as a last resort. During the commotion, Faye is captured by the Ya̧nomamö. Alan insists that they attempt to rescue her, but Mark continues to film as she is stripped naked, gang-raped, beaten to death, and beheaded. The Ya̧nomamö then locate and kill the last two team members as the camera drops to the ground. Disturbed by what they have seen, the executives order all of the footage to be burned. Monroe leaves the station, pondering "who the real cannibals are".

Cast

 * Robert Kerman as Professor Harold Monroe
 * Carl Gabriel Yorke as Alan Yates
 * Luca Giorgio Barbareschi as Mark Tomaso
 * Francesca Ciardi as Faye Daniels
 * Perry Pirkkanen as Jack Anders (credited as Perry Pirkanen)
 * Salvatore Basile as Chaco
 * Ricardo Fuentes as Miguel
 * Paolo Paoloni as Executive
 * Lionello Pio Di Savoia as Executive
 * Luigina Rocchi
 * Kate Weiman as Executive (uncredited)
 * Enrico Papa as TV Interviewer (uncredited)
 * David Sage as Mr. Yates (uncredited)
 * Ruggero Deodato as Man on University Campus (uncredited)

Development
Production on Cannibal Holocaust began in 1979, when director Ruggero Deodato was contacted by West German film distributors to make a film similar to his previous work, Last Cannibal World. He accepted the project and immediately went in search of a producer, choosing his friend Francesco Palaggi. The two first flew to Colombia to scout filming locations. Leticia, Colombia was chosen as the principal filming location after Deodato met a Colombian documentary filmmaker at the airport in Bogotá, who suggested the town as a location ideal for filming. Other locations had been considered, specifically those where Gillo Pontecorvo's Burn! had been shot, but Deodato rejected these locations due to lack of suitable rainforest.

Deodato conceived of the film's premise while talking to his son about news coverage of the terrorism of the Red Brigades. Deodato thought that the media focused on portraying violence with little regard for journalistic integrity and believed that journalists staged certain news angles in order to obtain more sensational footage. The Italian media was symbolized by the behavior in the film team in Cannibal Holocaust, the depiction of whom was also influenced by the works of Gualtiero Jacopetti, a documentary filmmaker of whom Deodato was a fan. Jacopetti and his partner, Franco Prosperi, are credited with popularizing Mondo films, a genre of documentary, with their first release, Mondo cane. Mondo films focused on sensational and graphic content from around the world, including local customs, violence, sexuality, and death. Deodato included similar content in Cannibal Holocaust, such as graphic violence and animal death, and the documentary that is produced in Cannibal Holocaust resembles a Mondo film. The scene of Monroe bathing naked in a river and the scene of a forced abortion rite have also been noted as being similar to scenes in Antonio Climati's Mondo film Savana violenta.

The Italian screenwriter Gianfranco Clerici wrote the script under the working title Green Inferno. He had collaborated with Deodato in his previous films Ultimo mondo cannibale and The House on the Edge of the Park, the latter of which was filmed before Cannibal Holocaust but released afterward. The screenplay included multiple scenes that did not make the film's final cut, including a scene in which a group of Ya̧nomamö cuts off the leg of a Shamatari warrior and feeds him to piranhas in a river. This scene was to take place directly after Monroe's team rescues a smaller group of Ya̧nomamö from the Shamatari. Attempts were made to film this scene, but the underwater camera did not operate properly, and the piranha were difficult to control. As a result, Deodato abandoned his efforts, and still photographs taken during the scene's setup are its only known depiction. The originally scripted version of The Last Road to Hell, which was written to depict soldiers advancing upon an enemy position, also went unused, as Deodato instead decided to use stock footage of political executions for the segment in order to draw further parallels to the films of Jacopetti. The character names Mark Williams and Shanda Tommaso in Clerici's screenplay were also changed to Mark Tomaso and Faye Daniels, respectively, in the film.

Casting
Deodato decided to film Cannibal Holocaust in English in order to appeal to a wider audience and to lend the film credibility. However, the film had to establish a European nationality so that it could be more easily distributed among European countries. Under Italian law, for the film to be recognized as Italian, at least two actors who spoke Italian as a native language had to star in the film. Luca Giorgio Barbareschi and Francesca Ciardi, two inexperienced students from the Actors Studio in New York City, were cast as Mark Tomaso and Faye Daniels, respectively, in part because they were native Italian speakers who also spoke English. Deodato also hired an American from the Actors Studio, Perry Pirkkanen, to play Jack Anders.

A friend of Pirkkanen was initially cast to play Alan Yates, but he dropped out of the film shortly before the production team left for the Amazon. He instead appears in the film as an ex-colleague of Yates. Casting director Bill Williams subsequently contacted Carl Gabriel Yorke to play the role. Yorke, a stage actor who had studied under Uta Hagen, was chosen in part because he was the right size for the costumes and boots, which had already been purchased. Because Cannibal Holocaust was a non-union production, Yorke originally wanted to be credited under the stage name Christopher Savage, although he ultimately decided it to be unnecessary due to the film's obscurity and remote filming location.

Robert Kerman had years of experience working in adult films under the pseudonym R. Bolla, including the well-known Debbie Does Dallas, before breaking into the Italian film industry. Kerman was recommended to Deodato for his previous film, The Concorde Affair, in which Kerman played an air traffic controller, and his performance impressed Deodato enough to have Kerman cast as Harold Monroe in Cannibal Holocaust. Kerman went on to star in the Italian cannibal films Eaten Alive! and Cannibal Ferox, both directed by Umberto Lenzi. Kerman's girlfriend at the time was cast as one of the station executives, as she was available to film in both New York City and Rome.

Direction
Film historian David Kerekes contends that the film's sense of reality is based on the direction and the treatment of the film team's recovered footage, noting that the "shaky hand-held camerawork commands a certain realism, and 'The Green Inferno,' the ill-fated team's film-within-a-film here, is no exception", and that "this very instability gives the 'Green Inferno' film its authentic quality." David Carter of the cult horror webzine Savage Cinema says that Deodato's methods added a first-person narration quality to the film team's footage, writing: "The viewer feels as if they are there with the crew, experiencing the horrors with them." Deodato was proud of other aspects of the cinematography, namely the numerous moving shots using a standard, shoulder-mounted camera, forgoing the use of a steadicam.

Kerekes noted the animal slaughter and inclusion of footage from The Last Road to Hell as adding to the sense of reality of the film. Lloyd Kaufman of Troma Entertainment compares these scenes to Vsevolod Pudovkin's theory of montage, saying: "In Cannibal Holocaust, we see the actors kill and rip apart a giant sea turtle and other animals. [...] The brain has been conditioned to accept that which it's now seeing as real. This mixture of real and staged violence, combined with the handheld camerawork and the rough, unedited quality of the second half of the movie, is certainly enough to convince someone that what they are watching is real." Deodato says he included the execution footage in The Last Road to Hell to draw further similarities to Cannibal Holocaust and the Mondo filmmaking of Gualtiero Jacopetti.

Filming
Principal photography began on 4 June 1979. The scenes featuring the film team were shot first with handheld 16mm cameras in a cinéma vérité style that mimicked an observational documentary, a technique Deodato had learned from his mentor Roberto Rossellini. This same style was also used by Climati in his Mondo film Ultime grida dalla savana, which may have been influential on Deodato's direction. After shooting with the film team was completed, Kerman flew down to film his scenes in the rainforest and then to New York to film exterior shots in the city. Leticia was only accessible by aircraft, and from there, the cast and crew had to travel by boat to reach the set. The interior shots of New York were filmed later in a studio in Rome.

Production on the film was delayed numerous times while in the Amazon. After the actor originally cast as Alan Yates dropped out of the role, filming was halted for two weeks until new casting calls were completed and Yorke arrived in Leticia. During principal filming with Kerman, the father of the actor who played Miguel was murdered, and production was again halted as the actor flew back to Bogotá to attend his father's funeral. The locale also presented problems for the production, in particular the heat and sudden rain storms, which sporadically delayed filming.

Interpersonal relationships were strained on the set. Kerman and Deodato frequently clashed, as the two got into long, drawn-out arguments every day of shooting, usually because of remarks made by Deodato to which Kerman took offense. Although Deodato noted that the two were always friendly again a few minutes later, Kerman expressed his personal dislike of Deodato in several interviews. He described Deodato as remorseless and uncaring on set and stated that he did not believe that Deodato had a soul. Kerman also noted hostile treatment of other cast and crew members by Deodato, stating: "He was a sadist. He was particularly sadistic to people that couldn't answer back, people that were Colombian, [and] people that were Italian but could be sent home." Yorke and co-star Perry Pirkanen also did not get along, which Yorke attributed to disappointment that Pirkanen felt after his friend dropped out of the production. Yorke also alienated Ciardi after he declined to have sex with her in preparation for filming their sex scene.

Multiple cast and crew members were uncomfortable with the film's graphic content, in particular the genuine killing of animals. Yorke described the shoot as having "a level of cruelty unknown to me" and was initially unsure if he was taking part in a snuff film. When his character was scripted to kill a pig on camera, Yorke refused, leaving the duty to Luca Barbareschi. Yorke had traveled with the pig to the set and felt he had formed a relationship with the animal. When it was shot, the emotional impact of hearing the pig squeal subsequently caused Yorke to botch a long monologue, and retakes were not an option because the production did not have access to additional pigs. Kerman similarly objected to the killing of the coati and stormed off the set while its death scene was filmed; he had repeatedly pressed Deodato to let the animal go in the minutes leading up to filming. Pirkanen cried after filming the butchering of a turtle, and crew members vomited off camera when a squirrel monkey was killed for the film.

The film's sexual content also proved a point of contention among the cast members. Ciardi did not want to bare her breasts during the sex scene between her and Yorke, and she became agitated with him during the filming of the scene. When she refused to comply with the direction, Deodato led her off the set and screamed at her in Italian until she agreed to perform the scene as instructed. Yorke also became severely upset while filming a scene in which his character takes a part in the rape of a native girl. The film's content had given Yorke anxiety throughout his time in Colombia, and this tension peaked during the rape scene. His experiences on set ultimately weighed so heavily on him that Yorke ended his relationship with his girlfriend in New York shortly after his return from the Amazon.

Yorke experienced unfair payment practices when his first payment for the film came in the form of Colombian pesos and was less than what had been agreed upon. He refused to continue shooting until he was paid the correct amount in United States dollars. The native extras also went unpaid for their work despite their involvement in numerous dangerous scenes, including a scene in which they were forced to stay inside a burning hut for a prolonged period of time.

Soundtrack
The film's soundtrack was composed entirely by Italian composer Riz Ortolani, whom Deodato specifically requested because of Ortolani's work in Mondo Cane. Deodato was particularly fond of the film's main theme, "Ti guarderò nel cuore", which was given lyrics and became a worldwide pop hit under the title "More". The music of Cannibal Holocaust is a variety of styles, from a gentle melody in the "Main Theme", to a sad and flowing score in "Crucified Woman", and faster and more upbeat tracks in "Cameraman's Recreation", "Relaxing in the Savannah", and "Drinking Coco", to the sinister-sounding "Massacre of the Troupe". The instrumentation is equally mixed, ranging from full orchestras to electronics and synthesizers.

The film's main theme was used in 2022 for the American teen series Euphoria, where it was played during the closing credits for the season 2 episode "The Theater and Its Double".

Release
Cannibal Holocaust premiered on 7 February 1980 in the Italian city of Milan. Although the courts later confiscated the film based on a citizen's complaint, the initial audience reaction was positive. After seeing the film, director Sergio Leone wrote a letter to Deodato, which stated (translated): "Dear Ruggero, what a movie! The second part is a masterpiece of cinematographic realism, but everything seems so real that I think you will get in trouble with all the world." In the ten days before it was seized, the film had grossed approximately $2 million. In Japan, it grossed $21 million, becoming the second highest-grossing film of that time after E.T. the Extraterrestrial. Deodato has claimed the film has grossed as much as $200 million worldwide in the wake of its various re-releases.

Critical response
Critics remain split on their stances of Cannibal Holocaust. Supporters of the film cite it as a serious and well-made social commentary on the modern world. Sean Axmaker praised the structure and setup of the film, saying: "It's a weird movie with an awkward narrative, which Deodato makes all the more effective with his grimy sheen of documentary realism, while Riz Ortolani's unsettlingly lovely, elegiac score provides a weird undercurrent." Jason Buchanan of AllMovie said: "While it's hard to defend the director for some of the truly repugnant images with which he has chosen to convey his message, there is indeed an underlying point to the film, if one is able to look beyond the sometimes unwatchable images that assault the viewer."

Detractors, however, criticize the over-the-top gore and the genuine animal slayings and also point to the hypocrisy that the film presents. Nick Schager criticized the brutality of the film, saying: "As clearly elucidated by its shocking gruesomeness—as well as its unabashedly racist portrait of indigenous folks it purports to sympathize with [the real indigenous peoples in Brazil whose names were used in the film—the Ya̧nomamö and Shamatari—are not fierce enemies as portrayed in the film, nor is either tribe truly cannibalistic, although the Ya̧nomamö do partake in a form of post-mortem ritual cannibalism] —the actual savages involved with Cannibal Holocaust are the ones behind the camera."

Robert Firsching of AllMovie made similar criticisms of the film's content, saying: "While the film is undoubtedly gruesome enough to satisfy fans, its mixture of nauseating mondo animal slaughter, repulsive sexual violence, and pie-faced attempts at socially conscious moralizing make it rather distasteful morally as well." Slant Magazine's Eric Henderson said it is "artful enough to demand serious critical consideration, yet foul enough to christen you a pervert for even bothering."

In recent years, Cannibal Holocaust has received accolades in various publications as well as a cult following. Review aggregator website Rotten Tomatoes gives the film an approval rating of 67% based on 18 reviews, with a weighted average of 5.5/10. British film magazine Total Film ranked Cannibal Holocaust as the tenth greatest horror film of all time, and the film was included in a similar list of the top 25 horror films compiled by Wired. The film also came in eighth on IGN's list of the ten greatest grindhouse films.

Interpretations
Cannibal Holocaust is seen by some critics as social commentary on various aspects of modern civilization by comparing Western society to that of the cannibals. David Carter says: "Cannibal Holocaust is not merely focused on the societal taboo of flesh eating. The greater theme of the film is the difference between the civilized and the uncivilized. Though the graphic violence can be hard for most to stomach, the most disturbing aspect of the film is what Deodato is saying about modern society. The film asks the questions 'What is it to be 'civilized'?' and 'Is it a good thing? Mark Goodall, author of Sweet & Savage: The World Through the Shockumentary Film Lens, also contends the film's message is [to show] "the rape of the natural world by the unnatural; the exploitation of 'primitive' cultures for Western entertainment."

Deodato's intentions regarding the Italian media coverage of the Red Brigades have also fallen under critical examination and has been expanded to include all sensationalism. Carter explores this, claiming that "[the lack of journalistic integrity] is shown through the interaction between Professor Monroe and the news agency that had backed the documentary crew. They continually push Monroe to finish editing the footage because blood and guts equal ratings." Lloyd Kaufman claims that this form of exploitative journalism can still be seen in the media today and in programming such as reality television. Goodall and film historians David Slater and David Kerekes have also suggested that Deodato was attempting to comment on the documentary works of Antonio Climati with his film.

Despite these interpretations, Deodato has said in interviews that he had no intentions in Cannibal Holocaust but to make a film about cannibals. Actor Luca Barbareschi asserts this as well and believes that Deodato only uses his films to "put on a show". Robert Kerman contradicts these assertions, stating that Deodato did tell him of political concerns involving the media in the making of this film.

These interpretations have also been criticized as hypocritical and poor justification for the film's content, as Cannibal Holocaust itself is highly sensationalized. Firsching claims that "The fact that the film's sole spokesperson for the anti-exploitation perspective is played by porn star Robert Kerman should give an indication of where its sympathies lie", while Schager says Deodato is "pathetically justifying the unrepentant carnage by posthumously damning his eaten filmmaker protagonists with a 'who are the real monsters – the cannibals or us?' anti-imperialism morale."

Controversies
Since its original release, Cannibal Holocaust has been the target of censorship by moral and animal activists. Other than graphic gore, the film contains several scenes of sexual violence and genuine cruelty to animals, issues which find Cannibal Holocaust in the midst of controversy to this day. Due to this notoriety, Cannibal Holocaust has been marketed as having been banned in over 50 countries. In 2006, Entertainment Weekly magazine named Cannibal Holocaust as the 20th most controversial film of all time.

Snuff film allegations
Ten days after its premiere in Milan, Cannibal Holocaust was confiscated under the orders of a local magistrate, and Ruggero Deodato was charged with obscenity. As all copies were to be turned over to the authorities, the film was released in other countries like the United Kingdom via subterfuge. In January 1981, during the film's theatrical run in France, the magazine Photo suggested that certain deaths depicted in the film were real, which would have made Cannibal Holocaust a snuff film. Following the publication of the Photo article, the charges against Deodato were amended to include murder. The courts believed that the actors who portrayed the missing film crew and the native actress featured in the impalement scene were killed for the camera.

Compounding matters was the fact that the supposedly deceased actors had signed contracts with the production which ensured that they would not appear in any type of media, motion pictures, or commercials for one year following the film's release. This was done in order to promote the idea that Cannibal Holocaust was truly the recovered footage of missing documentarians. During the subsequent court proceedings, questions arose as to why the actors were in no other media if they were alive as Deodato claimed.

To prove his innocence, Deodato had Luca Barbareschi get in contact with the other three actors, and the four of them were interviewed for an Italian television show. Deodato also explained in court how the special effect in the impalement scene was achieved: a bicycle seat was attached to the end of an iron pole, upon which the actress sat. She then held a short length of balsa wood in her mouth and looked skyward, thus giving the appearance of impalement. Deodato also provided the court with pictures of the girl interacting with the crew after the scene had been filmed. After they were presented with this evidence, the courts dropped all murder charges against Deodato.

Censorship
Although the snuff film allegations were successfully refuted, the Italian courts decided to ban Cannibal Holocaust due to the genuine animal slayings, citing animal cruelty laws. Deodato, Franco Palaggi, Franco Di Nunzio, Gianfranco Clerici, producer Alda Pia and United Artists Europa representative Sandro Perotti each received a four-month suspended sentence after they were all convicted of obscenity and violence. Deodato fought in the courts for three additional years to get his film unbanned. In 1984, the courts ruled in favor of Deodato, and Cannibal Holocaust was granted a rating certificate of VM18 for a cut print. It would later be re-released uncut.

Cannibal Holocaust also faced censorship issues in other countries around the world. In 1981, video releases were not required to pass before the British Board of Film Censors (BBFC), which had power to ban films in the United Kingdom. Cannibal Holocaust was released straight-to-video there, thus avoiding the possible banning of the film. This did not save the movie, however, because in 1983, the Director of Public Prosecutions compiled a list of 72 video releases that were not brought before the BBFC for certification and declared them prosecutable for obscenity. This list of "video nasties" included Cannibal Holocaust, which was successfully prosecuted and banned. The film was not approved for release in the UK until 2001, albeit with nearly six minutes of mandated cuts. In 2011, the BBFC waived all but one of these previous edits and passed Cannibal Holocaust with fifteen seconds of cuts. It was determined that the only scene that breached the BBFC's guidelines was the killing of a coatimundi, and the BBFC acknowledged that previous cuts were reactionary to the film's reputation.

The film was also banned in Australia, the United States, Norway, Finland, Iceland, New Zealand, Singapore and several other countries in or before 1984. The movie was briefly released in the US by Trans American Films in 1985, but this release lasted for less than a month before being pulled from theaters, likely due to the large controversies surrounding the film. It would eventually get a two-disc DVD release in 2005 by Grindhouse Releasing. In 2005, the Office of Film and Literature Classification in Australia lifted the ban, passing Cannibal Holocaust with an R18+ rating for the uncut print, including the consumer advice, "High level sexual violence, high level violence, animal cruelty." In 2006, the film was rejected for classification and banned in its entirety by the OFLC in New Zealand. Cuts to retain an R18 classification were offered by the Office, but they were eventually refused.

Animal cruelty
Many of the censorship issues with Cannibal Holocaust concern the on-screen killings of animals. Deodato himself has condemned his past actions, saying: "I was stupid to introduce animals." Although six animal deaths appear onscreen, seven animals were killed for the production, as the scene depicting the monkey's death was shot twice, resulting in the death of two monkeys. Both of the animals were eaten by indigenous cast members, who consider monkey brains a delicacy. The animals that were killed onscreen were:
 * a South American coati (mistaken for a muskrat in the film), killed with a knife
 * an Arrau turtle, decapitated and its limbs, shell, and entrails removed
 * a tarantula, killed with a machete
 * a boa constrictor, also killed with a machete
 * a squirrel monkey, decapitated with a machete
 * a pig, shot in the head with a .22 caliber rifle at point blank range

Film historian Andrew DeVos has argued that the animal deaths have been harshly condemned because of the film's classification as exploitation, whereas animal mutilations in films perceived by critics to be classics or art films are often ignored. DeVos cites several examples of this double standard, including The Rules of the Game, El Topo, Wake in Fright, and Apocalypse Now. The BBFC made a similar conclusion regarding the censorship of scenes in which the deaths were quick and painless, noting: "Removing these sequences would be inconsistent with the BBFC's decisions to permit quick clean kills in several other films, such as Apocalypse Now."

Legacy
Cannibal Holocaust was innovative in its plot structure, specifically with the concept of the "found footage" being brought back to civilization and later viewed to determine the fate of the crew that shot it. This was later popularized as a distinct style in Hollywood cinema by The Last Broadcast and The Blair Witch Project, both of which use similar storytelling devices. Each film uses the idea of a lost film team making a documentary in the wilderness, and their footage returned. Advertisements for The Blair Witch Project also promoted the idea that the footage is genuine. Deodato has acknowledged the similarities between his film and The Blair Witch Project, and though he holds no malice against the producers, he is frustrated at the publicity that The Blair Witch Project received for being an original production. The producers of The Last Broadcast have denied that Cannibal Holocaust was a major influence. Nonetheless, the film was cited by director Paco Plaza as a source of inspiration for the found footage films REC and REC 2.

Cannibal Holocaust has been regarded as the apex of the cannibal genre, and it bears similarities to subsequent cannibal films made during the same time period. Cannibal Ferox also stars Kerman and Pirkanen, and star Giovanni Lombardo Radice says it was made based on the success of Cannibal Holocaust. Cannibal Ferox has also been noted as containing similar themes to Cannibal Holocaust, such as comparison of Western violence to perceived uncivilized cultures and anti-imperialism. In a mixed review, film journalist Jay Slater claims: "Certainly a tough customer, Cannibal Ferox still fails where Deodato succeeds. [...] Lenzi attempts to tackle cultural defilement and racial issues, but Cannibal Ferox is nothing more than a shoddy exercise in sadism and animal cruelty." Reviewer Andrew Parkinson also notes: "At the end, there is a basic attempt to validate Cannibal Ferox, posing that old chestnut of whether civilised man is actually more savage than the uncivilised tribespeople."

Unofficial sequels to Cannibal Holocaust were produced in the years following its release. The titles of these films were changed following their original theatrical releases in order to associate the film with Cannibal Holocaust in different markets. In 1985, Mario Gariazzo directed Schiave bianche: violenza in Amazzonia, which was also released as Cannibal Holocaust 2: The Catherine Miles Story. In addition to the new title, Slater notes similarities between the score in The Catherine Miles Story and Riz Ortolani's score in Cannibal Holocaust. Previously known for his work in Mondo films, Antonio Climati directed Natura contro in 1988, which was released as Cannibal Holocaust II in the United Kingdom.

In 2005, Deodato announced that he planned to make a companion piece to Cannibal Holocaust entitled Cannibals. Deodato was originally hesitant about directing his new film, as he thought that he would make it too violent for American audiences. However, while he was in Prague filming his cameo appearance in Hostel: Part II for Eli Roth, Deodato viewed Hostel and decided that he would direct after all, citing it as a similarly violent film that was given a mainstream release in the United States. Although the screenplay, written by Christine Conradt, was completed, a financial conflict between Deodato and the film's producer led to the project's cancellation. In 2013, Roth directed The Green Inferno, which takes its title from the fictional documentary produced in Cannibal Holocaust. Roth's film was intended as an homage to Cannibal Holocaust and other cannibal films from the same era.

The film's influence has extended to other media as well. In 2001, Death metal band Necrophagia released a song entitled "Cannibal Holocaust" from the eponymous record.

It was revealed in April 2020, that the movie would be getting a video game sequel called Ruggero Deodato, Cannibal. The game is being developed by Fantastico Studios and was expected to be available from November 2020 for Nintendo Switch, PlayStation 4, Xbox One, PC and mobile. However, in December 2020, the game was retitled Borneo: A Jungle Nightmare and delayed to Spring 2021, but has yet to be released.

Alternate versions (home media)
Due to its graphic content, there are several different versions in circulation, edited to varying degrees. In the United Kingdom, it was originally released on VHS by Go Video in 1982 with approximately six minutes of cuts. These cuts were self-imposed by the distributor, possibly due to technical limitations of the tape. In 2001, the film was passed for release on DVD by the British Board of Film Classification with five minutes and 44 seconds of cuts to remove scenes of animal cruelty and sexual violence; all but 15 seconds of these cuts were waived for a re-release in 2011. The latter also includes a new edit sponsored by Deodato, which reduces the violence toward animals. Grindhouse Releasing's home video releases contain an "Animal Cruelty Free" version that omits the six animal deaths. Other versions also contain alternative footage shot specifically for Middle Eastern markets that do not depict nudity.

There are multiple versions of the Last Road to Hell segment, which causes variances even among uncensored releases. An extended version includes approximately 10 seconds of footage not seen in an alternative, shorter version. This additional footage includes a wide-angle shot of firing-squad executions, a close-up of a dead victim and extended footage of bodies being carried into the back of a truck. The longer version also includes different titles that correctly name the film crew as they appear in the final film, while the shorter version gives the names that originally appear in the script.

In August 2022, UK based distributor 88 Films announced a newly restored 4K UHD Blu-ray will be available in November.

title: Cannibal Holocaust


text:
Homsar

Homsar may refer to:
 * Homsar, Iran, a village in Isfahan Province, Iran
 * A character in Homestar Runner, see List of Homestar Runner characters

title: Homsar


text:
Sangha River

The Sangha River (Nzâdi Sangha, Mto Sanga, Rivière Sangha), a tributary of the Congo River, is located in Central Africa.

Geography
The Sangha River is formed at the confluence of the Mambéré River and the Kadéï River at Nola in the western Central African Republic. (3.51528°N, 16.04722°W) The Sangha flows along the border of Cameroon, with the Central African Republic, and then the Republic of Congo. It joins the Congo River at -1.2125°N, 16.82778°W

The tributaries of the Sangha River include the Ngoko River (Dja river). Its river mouth and confluence with the Sangha is at Ouésso, in the Republic of the Congo. (1.65139°N, 16.05694°W).

Ecology
The Sangha River is a Freshwater ecoregion of Africa. Its wetlands in the Central African Republic, Cameroon and Congo are protected Ramsar sites.

title: Sangha River


text:
Talk:Gold (British TV channel)

Doesn't look like it's on TVPlayer anymore — Preceding unsigned comment added by 90.248.166.213 (talk) 13:02, 6 November 2019 (UTC)

Requested move

 * The following discussion is an archived discussion of the proposal. Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

The result of the proposal was move per request.--Fuhghettaboutit (talk) 00:56, 16 May 2012 (UTC)

GOLD (TV channel) → Gold (TV channel) – The article should have been moved to 'Gold (TV channel)' when the acronym was dropped and the channel refereed to as just 'Gold' in 2010, the dots were finally removed from logo in 2012. (MOS:TM)   [[ axg  ◉  talk   ]] 20:50, 9 May 2012 (UTC)
 * Support; in line with MOS:TM. Powers T 15:57, 10 May 2012 (UTC)
 * Support; they haven't called themselves "Gee Oh El Dee" for a couple of years now, and the backronym seems to have vanished. The UKTV website seems to use both capitalizations, but the lowercase predominates in recent articles. 86.21.250.191 (talk) 01:34, 11 May 2012 (UTC)
 * The above discussion is preserved as an archive of the proposal. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

title: Talk:Gold (British TV channel)


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Å, Sweden

Å is a small village and a parish in Norrköping Municipality, Östergötland County, Sweden. It has a population of about 200.

There are also at least 12 other places in Sweden called Å, most of  them only a farm or a few houses. Å is pronounced.

Å, which means stream or small river, is a contender for the title of shortest place-name in the world — although other places named Å as well as Ö and Y can make the same claim. As a consequence, many tourists have ventured to the village for the sole purpose of either taking photos of or stealing the place-name sign.

The parish of Å is rich in ancient remains, of which the oldest date from the Stone Age.

title: Å, Sweden


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Hague Tribunal

Hague Tribunal is a popular name for any of the various international courts located in The Hague, Netherlands:
 * Permanent Court of Arbitration, a permanent arbitration court established in 1899
 * Permanent Court of International Justice (1922–1944), superseded by the International Court of Justice
 * International Court of Justice (since 1945)
 * International Criminal Tribunal for the former Yugoslavia, an ad hoc criminal tribunal created by the United Nations Security Council
 * International Criminal Court, a permanent criminal court created by the Rome Statute of the International Criminal Court
 * International Court of Arbitration of the International Chamber of Commerce

title: Hague Tribunal


text:
Talk:Venceremos Brigade

Antiwar demonstrations
'Antiwar demonstrations that invariably erupted into violence' strikes me as a suspect way of putting things. Certainly antiwar demonstrations, even in the early 70s did not invariably erupt into violence, and when they did, as I understand it, it was as often as not a direct result of police activity. Or did whoever wrote it mean to say something about what Venveremos did in antiwar demonstrations? -- Rafaelgr, March 8 2004 I find this page completely insulting. Almost reads like it was written by the FBI..Almost nothing in this article is true, I went on two Brigades and nothing in this article reflects my experience. Particulary the part about people not being harrassed by the FBI after they came home. I was fired or forced to leave 3 jobs in the 70s after visits to my employers from FBI agents. This nareticle should be scrapped. Or labeled propagandaOldpanther 12:10, 31 March 2011 (UTC) — Preceding unsigned comment added by Oldpanther (talk • contribs)

Venceremos Organization merger.
This entry duplicated the Venceremos Organization entry and the two articles should be merged. DJ Silverfish 18:46, 2 Jun 2005 (UTC)

As pointed out in the talk page on the Venceremos Organization, these were two entirely separate groups that just share a Spanish word in their name. Merging the articles is not at all justified. I was a member of the Venceremos Brigade in 1972, and believe that VB deserves a longer article. Anyone interested - please contact me User:Cullen328 (talk) 03:13, 3 August 2009 (UTC)

I'm in love with Fidel
and I would like a picture of him right here Cristian Opazo (talk) 17:37, 2 December 2011 (UTC)
 * Any photos should be of the Venceremos Brigade.  Cullen 328  Let's discuss it  17:49, 2 December 2011 (UTC)

Biased
Wow, this page is heavily slanted towards praising the organization. --Lacarids (talk) 22:16, 16 July 2012 (UTC)

The Brigade and Gay Lib
I'm going to work on adding some materials from Allen Young (writer)'s "Gays under the Cuban revolution" about the conflicts between the Brigade's organizers and gay members. Pjefts (talk) 21:59, 12 March 2015 (UTC)

title: Talk:Venceremos Brigade


text:
Hairy

Hairy may refer to:
 * people or animals covered in hairs or fur
 * plants covered in trichomes
 * insects covered in setae
 * people nicknamed "the Hairy"
 * Hairy (gene)

title: Hairy


text:
User:Archenzo

█ █  █  █  █ █  █ 29 July -  (UTC)

Hallo! I am VincEnzo named Enzo, architect.  I was born near Etna in Catania Sicily Italy. I live in Milan.  My web-site [mailto:info@archenzo.it E-Mail]

My images on Commons Archenzo Italy

Wiki Italia

Memo

 * What_Wikipedia_is_not
 * Category
 * disambiguation
 * Special:Imagelist

cs:Wikipedista:Archenzo de:Benutzer:Archenzo es:Usuario:Archenzo fr:Utilisateur:Archenzo it:Utente:Archenzo nl:Gebruiker:Archenzo pl:Wikipedysta:Archenzo pt:Usuário:Archenzo sv:Användare:Archenzo

title: User:Archenzo


text:
User talk:Archenzo

█ █  █  █  █ █  █ 29 July -  (UTC)

Hallo, I am Italian. I live in Milan.

Archenzo Italy talk Please contact me in my italian talk page

Hi Archenzo, I saw your changes on some footers, particularly Template:Biology-footer and Template:Genomics-footer. Making the table 100% particularly for the genomics footer makes the footer look very strange because there is only a small number of items, and having it stretched so much looks odd on most browsers. Since most page footers, such as country footers (such as Template:North America don't use width=100% (in fact most are indented by default), since this is a site-wide issue if you want to change things globally, you should probably discuss this on at Wikipedia talk:Page footers first. I reverted your changes pending discussion.  Cheers, --Lexor|Talk 09:17, 4 May 2004 (UTC)

Barocco siciliano
Ciao Archenzo, Congratulazioni - buon lavoro. Giano | talk 23:05, 21 November 2005 (UTC)
 * Ciao Enzo, Scusilo. Ho pensato che traduceste il barocco siciliano. Giano | talk 07:23, 28 November 2005 (UTC)

TfD nomination of Template:Periodic table
Template:Periodic table has been nominated for deletion. You are invited to comment on the discussion at Templates for deletion. Thank you. (You are notified as the creator of the template.) --Eddi (Talk) 21:33, 26 January 2006 (UTC)

Urgenza
Ho bisogno con urgenza che qualcuno blocchi l'utente Fotogian poichè rimuove i miei contributi firmati [Paolo esquilino] nella versione in italiano. Non so cosa voglia da me questo pericoloso schizoide ma bloccatelo e ripristinate i miei messaggi del 28 aprile in it:Discussioni utente:AmonSûl intitolato regolamento e in it:Discussioni utente:Ghino di Tacco intitolato commento. Ti saluto cordialmente certo della tua collaborazione. [Paolo esquilino] 28 apr —The preceding unsigned comment was added by 151.33.94.90 (talk) 12:39, 28 April 2007 (UTC).

Basta leggere quanto scrive Fabexplosive al termine di questo paragrafo http://it.wikipedia.org/wiki/Wikipedia:Utenti_problematici/Votazioni_sulla_messa_al_bando/IVO#Commenti

Fotogian
 * visto-- Arch Enzo 12:20, 7 May 2007 (UTC)

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Notification: changes to "Mark my edits as minor by default" preference
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Thank you for your understanding and happy editing :) Editing on behalf of User:Jarry1250, LivingBot (talk) 20:21, 14 March 2011 (UTC)

 * Test-- Arch Enzo 21:05, 18 March 2011 (UTC)

ArbCom elections are now open!
Hi, You appear to be eligible to vote in the current Arbitration Committee election. The Arbitration Committee is the panel of editors responsible for conducting the Wikipedia arbitration process. It has the authority to enact binding solutions for disputes between editors, primarily related to serious behavioural issues that the community has been unable to resolve. This includes the ability to impose site bans, topic bans, editing restrictions, and other measures needed to maintain our editing environment. The arbitration policy describes the Committee's roles and responsibilities in greater detail. If you wish to participate, you are welcome to review the candidates' statements and submit your choices on the voting page. For the Election committee, MediaWiki message delivery (talk) 22:14, 30 November 2015 (UTC)

Ortisei e Bressanone
Ciao, tu sei amminisratore su it.wiki da molti anni quindi hai esperienza: devo segnalarti un caso. Un utente pretende di mettere nomi alle città, che stanno in Italia, come gli pare a lui infatti Ortisei e Bressanone le avevo sistemate spostandole ai titoli corretti che corrispondono ai nomi ufficiali delle città. Puoi leggere la discussione in User talk:Ser Amantio di Nicolao ma quell'utente prende a pretesto una regola che ha inteso nel modo sbagliato. Io gli ho mostrato i siti ufficiali dei comuni nei quali Ortisei ha il nome solo in lingua italiana mentre Bressanone ha il nome Brixen-Bressanone quindi io avevo spostato i titoli ai nomi ufficiali, ma quello continua imperterrito nella sua elugubrazione eliminando i nomi in lingua italiana: quell'utente dev'essere fermato da un amministratore di en.wiki che tu puoi avvisare. Salve Staiolone (talk) 19:57, 10 September 2022 (UTC)
 * ciao, a mio parere, ma posso sbagliare, il fatto che in itwiki Brixen è un redirect a Bressanone (semplicemente Bressanone) giustifica pienamente la medesima organizzazione dei link in tutte le altre lingue, Bressanone è dal novembre 1918 città italiana. Dovrebbe adottarla anche dewiki, che vedo chiama tutte le città italiane dell'Alto Adige in tedesco. Arch Enzo 20:08, 11 September 2022 (UTC)
 * il simpaticone utente Mai-Sachme ha segnalato il caso in Administrators' noticeboard/Incidents quindi, caro Archenzo, ti rivolgo invito a lasciare un tuo parere in quella pagina, se hai tempo. Ciao--Staiolone (talk) 08:02, 18 September 2022 (UTC)

title: User talk:Archenzo


text:
Paroxysmal nocturnal hemoglobinuria

Paroxysmal nocturnal hemoglobinuria (PNH) is a rare, acquired, life-threatening disease of the blood characterized by destruction of red blood cells by the complement system, a part of the body's innate immune system. This destructive process occurs due to deficiency of the red blood cell surface protein DAF, which normally inhibits such immune reactions. Since the complement cascade attacks the red blood cells within the blood vessels of the circulatory system, the red blood cell destruction (hemolysis) is considered an intravascular hemolytic anemia. There is ongoing research into other key features of the disease, such as the high incidence of venous blood clot formation. Research suggests that PNH thrombosis (a blood clot) is caused by both the absence of GPI-anchored complement regulatory proteins (CD55 and CD59) on PNH platelets and the excessive consumption of nitric oxide (NO).

PNH is the only hemolytic anemia caused by an acquired (rather than inherited) intrinsic defect in the cell membrane (deficiency of glycophosphatidylinositol or GPI) leading to the absence of protective exterior surface proteins that normally attach via a GPI anchor. It may develop on its own ("primary PNH") or in the context of other bone marrow disorders such as aplastic anemia ("secondary PNH"). Only a minority of affected people have the telltale red urine in the morning that originally gave the condition its name.

Allogeneic bone marrow transplantation is the only cure, but has significant rates of additional medical problems and death. The monoclonal antibody eculizumab reduces the need for blood transfusions and improves quality of life for those affected by PNH. Eculizumab dramatically alters the natural course of PNH, reducing symptoms and disease complications as well as improving survival to the extent that it may be equivalent to that of the general population. Eculizumab costs at least US$440,000 for a single year of treatment and has been reported as one of the world's most expensive drugs.

Signs and symptoms
The classic sign of PNH is red discoloration of the urine due to the presence of hemoglobin and hemosiderin from the breakdown of red blood cells. As the urine is more concentrated in the morning, this is when the color is most pronounced. This phenomenon mainly occurs in those who have the primary form of PNH, who will notice this at some point in their disease course. The remainder mainly experience the symptoms of anemia, such as fatigue, shortness of breath, and palpitations.

A small proportion of patients report attacks of abdominal pain, difficulty swallowing and pain during swallowing, as well as erectile dysfunction in men; this occurs mainly when the breakdown of red blood cells is rapid, and is attributable to spasm of smooth muscle due to depletion of nitric oxide by red cell breakdown products.

Forty percent of people with PNH develop thrombosis at some point in their illness. This is the main cause of severe complications and death in PNH. These may develop in common sites (deep vein thrombosis of the leg and resultant pulmonary embolism when these clots break off and enter the lungs), but in PNH blood clots may also form in more unusual sites: the hepatic vein (causing Budd-Chiari syndrome), the portal vein of the liver (causing portal vein thrombosis), the superior or inferior mesenteric vein (causing mesenteric ischemia) and veins of the skin. Cerebral venous thrombosis, an uncommon form of stroke, is more common in those with PNH.

Pathophysiology
All cells have proteins attached to their membranes, often serving as a mode of communication or signaling between the cell and the surrounding environment. These signaling proteins are physically attached to the cell membrane in various ways, commonly anchored by glycolipids such as glycosyl phosphatidylinositols (GPI). PNH occurs as a result of a defect in the assembling of these glycolipid-protein structures on the surface of blood cells.

The most common defective enzyme in PNH is phosphatidylinositol glycan A (PIGA), one of several enzymes needed to make GPI. The gene that codes for PIGA is located on the X chromosome. As males have only a single X chromosome and, in females, one is silenced through X-inactivation), only one active copy of the gene for PIGA is present in each cell regardless of sex. A mutation in the PIGA gene can lead to the absence of GPI anchors expressed on the cell membrane. When this mutation occurs in a hematopoietic stem cell in the bone marrow, all of the cells it produces will also have the defect.

Several of the proteins that anchor to GPI on the cell membrane are used to protect the cell from destruction by the complement system, and, without these anchors, the cells are more easily targeted by the complement proteins. Although red blood cells, white blood cells, and platelets are targeted by complement, red blood cells are particularly vulnerable to lysis. The complement system is part of the innate immune system and has a variety of functions, from destroying invading microorganisms by opsonization to direct destabilization by the membrane attack complex. The main proteins that protect blood cells from destruction are decay-accelerating factor (DAF/CD55), which disrupts formation of C3-convertase, and protectin (CD59/MIRL/MAC-IP), which binds the membrane attack complex and prevents C9 from binding to the cell.

The symptoms of esophageal spasm, erectile dysfunction, and abdominal pain are attributed to the fact that hemoglobin released during hemolysis binds with circulating nitric oxide, a substance that is needed to relax smooth muscle. This theory is supported by the fact that these symptoms improve on administration of nitrates or sildenafil (Viagra), which improves the effect of nitric oxide on muscle cells. There is a suspicion that chronic hemolysis causing chronically depleted nitric oxide may lead to the development of pulmonary hypertension (increased pressure in the blood vessels supplying the lung), which in turn puts strain on the heart and causes heart failure.

Historically, the role of sleep and night in this disease (the "nocturnal" component of the name) has been attributed to acidification of the blood at night due to relative hypoventilation and accumulation of carbon dioxide in the blood during sleep. This hypothesis has been questioned by researchers who note that not all those with PNH have increased hemolysis during sleep, so it is uncertain how important a role sleep actually plays in this disease.

Diagnosis
Blood tests in PNH show changes consistent with intravascular hemolytic anemia: low hemoglobin, raised lactate dehydrogenase, raised bilirubin (a breakdown product of hemoglobin), and decreased levels of haptoglobin; there can be raised reticulocytes (immature red cells released by the bone marrow to replace the destroyed cells) if there is no concurrent problem with production of red cells (such as iron deficiency). The direct antiglobulin test (DAT, or direct Coombs' test) is negative, as the hemolysis of PNH is not caused by antibodies. If the PNH occurs in the setting of known (or suspected) aplastic anemia, abnormal white blood cell counts and decreased platelet counts may be seen at this. In this case, anemia may be caused by insufficient red blood cell production in addition to the hemolysis.

Historically, the sucrose lysis test, in which a patient's red blood cells are placed in low-ionic-strength solution and observed for hemolysis, was used for screening. If this was positive, the Ham's acid hemolysis test (after Dr Thomas Ham, who described the test in 1937) was performed for confirmation. The Ham test involves placing red blood cells in mild acid; a positive result (increased RBC fragility) indicates PNH or Congenital dyserythropoietic anemia. This is now an obsolete test for diagnosing PNH due to its low sensitivity and specificity.

Today, the gold standard is flow cytometry for CD55 and CD59 on white and red blood cells. Based on the levels of these cell proteins, erythrocytes may be classified as type I, II, or III PNH cells. Type I cells have normal levels of CD55 and CD59; type II have reduced levels; and type III have absent levels. The fluorescein-labeled proaerolysin (FLAER) test is being used more frequently to diagnose PNH. FLAER binds selectively to the glycophosphatidylinositol anchor and is more accurate in demonstrating a deficit than simply for CD59 or CD55.

Classification
PNH is classified by the context under which it is diagnosed:
 * Classic PNH. Evidence of PNH in the absence of another bone marrow disorder.
 * PNH in the setting of another specified bone marrow disorder such as aplastic anemia and myelodysplastic syndrome (MDS).
 * Subclinical PNH. PNH abnormalities on flow cytometry without signs of hemolysis.

Screening
There are several groups where screening for PNH should be undertaken. These include patients with unexplained thrombosis who are young, have thrombosis in an unusual site (e.g. intra-abdominal veins, cerebral veins, dermal veins), have any evidence of hemolysis (e.g. a raised LDH), or have a low red blood cell, white blood cell, or platelet count. Those who have a diagnosis of aplastic anemia should be screened annually.

Acute attacks
There is disagreement as to whether steroids (such as prednisolone) can decrease the severity of hemolytic crises. Transfusion therapy may be needed; in addition to correcting significant anemia, this suppresses the production of PNH cells by the bone marrow, and indirectly the severity of the hemolysis. Iron deficiency develops with time, due to losses in urine, and may have to be treated if present. Iron therapy can result in more hemolysis as more PNH cells are produced.

Long-term
PNH is a chronic condition. In patients with only a small clone and few problems, monitoring of the flow cytometry every six months gives information on the severity and risk of potential complications. Given the high risk of thrombosis in PNH, preventive treatment with warfarin decreases the risk of thrombosis in those with a large clone (50% of white blood cells type III).

Episodes of thrombosis are treated as they would in other patients, but, given that PNH is a persisting underlying cause, it is likely that treatment with warfarin or similar drugs needs to be continued long-term after an episode of thrombosis.

Epidemiology
PNH is rare, with an annual rate of 1-2 cases per million. The prognosis without disease-modifying treatment is 10–20 years. Many cases develop in people who have previously been diagnosed with myelodysplastic syndrome. The fact that PNH develops in MDS also explains why there appears to be a higher rate of leukemia in PNH, as MDS can sometimes transform into leukemia or aplastic anemia.

25% of female cases of PNH are discovered during pregnancy. This group has a high rate of thrombosis, and the risk of death of both mother and child are significantly increased (20% and 8% respectively).

History
The first description of paroxysmal hemoglobinuria was by the German physician Paul Strübing (Greifswald, 1852–1915) during a lecture in 1881, later published in 1882. Later comprehensive descriptions were made by Ettore Marchiafava and Alessio Nazari in 1911, with further elaborations by Marchiafava in 1928 and Ferdinando Micheli in 1931.

The Dutch physician Enneking coined the term "paroxysmal nocturnal hemoglobinuria" (or haemoglobinuria paroxysmalis nocturna in Latin) in 1928, which has since become the default description.

title: Paroxysmal nocturnal hemoglobinuria


text:
Tube Bar prank calls

The Tube Bar prank calls are a series of prank calls made in the mid-1970s to the Tube Bar in Jersey City, New Jersey, in which Jim Davidson and John Elmo would ask "Red," the proprietor of the bar, if they could speak to various non-existent customers. The gag names given by the pranksters were puns and homophones for often offensive phrases. Recordings of the calls were circulated widely on duplicated cassette tapes and may have been the inspiration for a long running gag in The Simpsons.

History
In the mid-1970s, two young men—John Elmo and Jim Davidson;  later known collectively as Bum Bar Bastards, or The BBB—began calling the Tube Bar located at Journal Square in Jersey City, New Jersey. The bar was owned by heavyweight boxer Louis "Red" Deutsch, and most of the time Deutsch himself answered the calls. During a call, the pranksters would ask Deutsch to call out fictitious, pun-like or homophonous names such as "Pepe Roni" (pepperoni), "Hal Jalykakick" (how'd you like a kick), "Phil Mypockets" (fill my pockets), "Al Coholic" (alcoholic) or "Mike Hunt" (my cunt). Most of the time, Deutsch would call out the names, unaware that he was being subjected to a prank.

At times, Deutsch would catch on, and when he did, he would respond with extreme hostility, shouting profanity, obscene sexual references (usually involving the caller's mother), and threats of physical harm at the caller. He would utter threats such as, "I'll break dem bones on you, on your feet, you'll never be able to walk for the rest of your life!" as well as "I'll cut your belly open and show you all the black stuff you got in there!" Sometimes Deutsch would offer the two pranksters a reward of $100 or $500 if they would show up at his bar in person, but they never took him up on the offer, in one case even counter-offering him $5.

By the 1980s, dubbed cassette tapes of the calls were shared between staff of several major league sports teams such as the New York Mets, Los Angeles Dodgers and Miami Dolphins. These dubbed copies of the calls were unofficially referred to as the Red Tapes or Tube Bar Tapes. The popularity of these prank calls spread throughout respective sports leagues, branching out to sports reporters and then into the larger media world.

Bar location and details
The Tube Bar itself was located at 12 Tube Concourse, Jersey City, adjacent to the entrance of the Journal Square PATH station and across the way from the Landmark Loew's Jersey Theatre. The small complex of commercial storefronts that included the Tube Bar was demolished in early 2009 to make way for the 1 Journal Square development project.

Legacy

 * Animator and cartoonist Matt Groening has described himself as a fan of the tapes, particularly the "Garden Grove calls". His series The Simpsons features a running joke of Bart Simpson making prank calls to barkeeper Moe Szyslak, asking to speak to patrons with joke names. Groening describes the similarity between these jokes and the Tube Bar calls as "creative synchronicity." Co-developer Sam Simon told The Howard Stern Show in 2007 that the jokes are a "homage to or parody of the classic Red tapes".
 * During the 1980s, several different record labels released various edits of the tapes on CD, LP and cassette tape before the Bum Bar Bastards came forward in the 1990s to claim copyright of the tapes and officially release their version.

 * In the 1990's, on The Howard Stern radio show, Billy West would often imitate Red, usually after Stern would ask Billy a question, but referring to him as "Red."

title: Tube Bar prank calls