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Human Rights Act 1998

The Human Rights Act 1998 (c. 42) is an Act of Parliament of the United Kingdom which received royal assent on 9 November 1998, and came into force on 2 October 2000. Its aim was to incorporate into UK law the rights contained in the European Convention on Human Rights. The Act makes a remedy for breach of a Convention right available in UK courts, without the need to go to the European Court of Human Rights (ECHR) in Strasbourg.

In particular, the Act makes it unlawful for any public body to act in a way which is incompatible with the convention, unless the wording of any other primary legislation provides no other choice. It also requires the judiciary (including tribunals) to take account of any decisions, judgment or opinion of the European Court of Human Rights, and to interpret legislation, as far as possible, in a way which is compatible with Convention rights.

However, if it is not possible to interpret an Act of Parliament so as to make it compatible with the convention, the judges are not allowed to override the Act of Parliament. All they can do is issue a declaration of incompatibility. This declaration does not affect the validity of the Act of Parliament: in that way, the Human Rights Act seeks to maintain the principle of parliamentary sovereignty, pursuant to the Constitution of the United Kingdom. However, judges may strike down secondary legislation. Under the Act, individuals retain the right to sue in the Strasbourg court.

Background
The convention was drafted by the Council of Europe after World War II. Sir David Maxwell-Fyfe was the Chair of the Committee on Legal and Administrative Questions of the council's Consultative Assembly from 1949 to 1952, and oversaw the drafting of the European Convention on Human Rights. It was designed to incorporate a traditional civil liberties approach to securing "effective political democracy" from the strong traditions of freedom and liberty in the United Kingdom. As a founding member of the Council of Europe, the United Kingdom acceded to the European Convention on Human Rights in March 1951. However it was not until the 1960s that British citizens were able to bring claims in the European Court of Human Rights (ECtHR). During the 1980s, groups such as Charter 88, which invoked the 300th anniversary of the Glorious Revolution in 1688 and the Bill of Rights 1689, accused the executive of misusing its power and argued that a new British Bill of Rights was needed to secure human rights in the United Kingdom.

In its manifesto for the 1997 general election, the Labour Party pledged to incorporate the European Convention into domestic law. When the election resulted in a landslide Labour victory, the party, under the leadership of Tony Blair, fulfilled the pledge by the Parliament passing the Human Rights Act the following year.

The 1997 White Paper "Rights Brought Home" stated:

"It takes on average five years to get an action into the European Court of Human Rights once all domestic remedies have been exhausted; and it costs an average of £30,000. Bringing these rights home will mean that the British people will be able to argue for their rights in the British courts – without this inordinate delay and cost."

Structure
The Human Rights Act places a duty on all courts and tribunals in the United Kingdom to interpret legislation so far as possible in a way compatible with the rights laid down in the European Convention on Human Rights (section 3(1)). If that is not possible, the court may issue a "declaration of incompatibility". The declaration does not invalidate the legislation but permits the amendment of the legislation by a special fast-track procedure under section 10 of the Act as well. As of September 2006, 20 declarations had been made, of which six were overturned on appeal.

The Human Rights Act applies to all public bodies within the United Kingdom, including central government, local authorities, and bodies exercising public functions. However, it does not include Parliament when it is acting in its legislative capacities.

Section 3
Section 3 is a particularly wide provision that requires courts to interpret both primary and subordinate legislation so that their provisions are compatible with the articles of the European Convention on Human Rights which are also part of the Human Rights Act. This interpretation goes far beyond normal statutory interpretation, and includes past and future legislation, therefore preventing the Human Rights Act from being impliedly repealed. Courts have applied this through three forms of interpretation: "reading in", inserting words where there are none in a statute; "reading out", where words are omitted from a statute; and "reading down", where a particular meaning is chosen to be in compliance. They do not interpret a statute so as to give it a meaning that would conflict with legislative intent, and courts have been reluctant in particular to "read out" provisions for this reason. If it is not possible to so interpret, they may issue a declaration of incompatibility under section 4.

Section 3 does not apply to the Illegal Migration Act 2023.

Sections 4 and 10
Sections 4 and 10 allow courts to issue a declaration of incompatibility where it is impossible to use section 3 to interpret primary or subordinate legislation to be compatible with the articles of the European Convention on Human Rights, which are also part of the Human Rights Act. In these cases, interpretation to comply may conflict with legislative intent. It is considered a measure of last resort. A range of superior courts can issue a declaration of incompatibility.

A declaration of incompatibility is not binding on the parties to the proceedings in which it is made, nor can a declaration invalidate legislation. Section 4 therefore achieves its aim through political rather than legal means.

Section 10 gives a government minister the power to make a "remedial order" in response to either
 * a declaration of incompatibility, from which there is no possibility of appeal, or
 * a ruling of the European Court of Human Rights

A remedial order may "make such amendments to the legislation as [the Minister] considers necessary to remove the incompatibility". Remedial orders do not require full legislative approval, but must be approved by resolutions of each House of Parliament. In especially urgent cases, Parliamentary approval may be retroactive.

Remedial orders may have retroactive effect, but no one may be guilty of a criminal offence solely as the result of the retroactive effect of a remedial order.

Section 10 has been used to make small adjustments to bring legislation into line with Convention rights although entirely new pieces of legislation are sometimes necessary.

As of December 2014, 29 declarations of incompatibility have been issued, of which
 * 8 have been struck down on appeal
 * 1 is pending appeal, as of December 2014
 * 16 have been remedied through the ordinary legislative process (including amendment or repeal of the offending legislation).
 * 3 have been addressed through remedial orders
 * 1 has not been remedied.

The one case not to have been remedied, as of December 2014, is Smith v. Scott, concerning the right of serving prisoners to vote in the UK.

Sections 6 to 9
Although the Act, by its own terms, applies only to public bodies, it has had increasing influence on private law litigation between individual citizens leading some academics (source?) to state that it has horizontal effect (as in disputes between citizens) as well as vertical effect (as in disputes between the state and citizens). This is because section 6(3) of the Human Rights Act defines courts and tribunals as public bodies. That means their judgments must comply with human rights obligations of the state, whether a dispute is between the state and citizens, or between citizens, except in cases of declarations of incompatibility. Therefore, judges have a duty to act in compatibility with the Convention even when an action is a private one between two citizens.

The way that public duty is exercised in private law was dealt with in a June 2016 decision McDonald v McDonald & Ors [2016 UKSC 28 (15 June 2016)] where the UK Supreme Court firstly considered the question "... whether a court, when entertaining a claim for possession by a private sector owner against a residential occupier, should be required to consider the proportionality of evicting the occupier, in the light of section 6 of the Human Rights Act 1998 and article 8 of the European Convention on Human Rights"

The Supreme Court decided (paragraph 46) that "there are many cases where the court can be required to balance conflicting Convention rights of two parties, eg where a person is seeking to rely on her article 8 rights to restrain a newspaper from publishing an article which breaches her privacy, and where the newspaper relies on article 10. But such disputes arise not from contractual arrangements made between two private parties, but tortious or quasi-tortious relationships, where the legislature has expressly, impliedly or through inaction, left it to the courts to carry out the balancing exercise".

Therefore, In cases "where the parties are in a contractual relationship in respect of which the legislature has prescribed how their respective Convention rights are to be respected" then the Court decided, as set out in paragraph 59 "In these circumstances, while we accept that the Strasbourg court jurisprudence relied on by the appellant does provide some support for the notion that article 8 was engaged when Judge Corrie was asked to make an order for possession against her, there is no support for the proposition that the judge could be required to consider the proportionality of the order which he would have made under the provisions of the 1980 and 1988 Acts. Accordingly, for the reasons set out in paras 40-46 above, we would dismiss this appeal on the first issue."

Paragraph 40 supposed that "... it is not open to the tenant to contend that article 8 could justify a different order from that which is mandated by the contractual relationship between the parties, at least where, as here, there are legislative provisions which the democratically elected legislature has decided properly balance the competing interests of private sector landlords and residential tenants."

The duty of state judges to apply Convention rights to disputes between citizens is therefore about determining relationships between them, and applying domestic legislation accordingly. If the duty is carried out then it is likely there is Article 6 compliance.

Section 7 limits a right to bring proceedings under section 6 only to victims (or potential victims) of the unlawful act of the public authority.

Section 8 provides a right for a court to make any remedy they consider just and appropriate. A remedy under the Act is therefore not limited to a Declaration of incompatibility possibly taking into account the equitable maxim Equity delights to do justice and not by halves.

Section 9 provides a right to challenge the compliance of judicial acts made by the UK, but only by exercising a right of appeal as set out by the Access to Justice Act 1999 (although not precluding a right to judicial review). For example, whether a judicial act properly applies legislation, or not.

Other sections
Section 8 says that UK judges can grant any remedy that is considered just and appropriate.

Section 19 requires a minister introducing a bill to parliament to make a statement of compatibility or, if unable to give such an assurance, a statement that the government wishes to proceed anyway. The statement is normally published with (immediately before) the text of the bill.

Rights protected
Many rights established under the Human Rights Act 1998 were already protected under UK law, but the purpose of the Act was largely to establish the European Convention on Human Rights in British law.

Section 21(5) of the Act completely abolished the death penalty in the United Kingdom, effective on royal assent. The death penalty had already been abolished for all civilian offences, including murder (Murder (Abolition of Death Penalty) Act 1965) and treason (Crime and Disorder Act 1998), but remained in force for certain military offences (although these provisions had not been used for several decades).

This provision was not required by the European Convention (protocol 6 permits the death penalty in time of war; protocol 13, which prohibits the death penalty for all circumstances, did not then exist); rather, the government introduced it as a late amendment in response to parliamentary pressure.

The Act provides that it is unlawful for a "public authority" to act in such a way as to contravene "Convention rights". For these purposes public authority includes any other person "whose functions are functions of a public nature". It also explicitly includes the courts. Convention rights includes only those rights specified in section 1 of the Act (these are recited in full in Schedule 1). In the interpretation of those rights the Act provides that the domestic Courts "may" take into account the jurisprudence of the European Court of Human Rights (ECtHR).

Section 7 enables any person with standing (as stipulated by Article 34 of the convention) to raise an action against a public authority that has acted or proposes to act in such a Convention-contravening manner. This is a more rigorous standard than is ordinarily applied to standing in English, although not Scottish, judicial review.

If it is held that the public authority has violated the claimant's Convention rights, then the court is empowered to "grant such relief or remedy, or make such order, within its powers as it considers just and appropriate". This can include an award of damages, although the Act provides limitations on the court's capacity to make such an award.

However, the Act also provides a defence for public authorities if their Convention-violating act is in pursuance of a mandatory obligation imposed upon them by primary legislation. The Act envisages that this will ordinarily be a difficult standard to meet though since it requires the courts to read such legislation (and for that matter subordinate legislation) "So far as it is possible to do so ... in a way which is compatible with the Convention rights."

Where it is impossible to read primary legislation in a Convention compliant manner, the only sanction available to the courts is to make a declaration of incompatibility in respect of it. The power to do so is restricted to the higher courts. Such a declaration has no direct impact upon the continuing force of the legislation but it is likely to produce public pressure upon the government to remove the incompatibility. It also strengthens the case of a claimant armed with such a decision from the domestic courts in any subsequent appeal to ECtHR. In order to provide swift compliance with the convention the Act allows ministers to take remedial action to amend even offending primary legislation via subordinate legislation.

Notable human rights case law

 * Lee Clegg's murder conviction gave rise to the first case invoking the Act, brought by The Times in October 2000 which sought to overturn a libel ruling against the newspaper.
 * Campbell v MGN Ltd [2002] EWCA Civ 1373: Naomi Campbell and Sara Cox both sought to assert their right to privacy under the Act. Both cases were successful for the complainant (Campbell's on the second attempt; Cox's attempt was not judicially decided but an out of court settlement was reached before the issue could be tested in court) and an amendment to British law to incorporate a provision for privacy is expected to be introduced.
 * Venables and Thompson v News Group Newspapers [2001] 1 All ER 908: The James Bulger murder case tested whether the Article 8 (privacy) rights of Venables and Thomson, the convicted murderers of Bulger, applied when four newspapers sought to publish their new identities and whereabouts, using their Article 10 rights of freedom of expression. The judge, Dame Elizabeth Butler-Sloss, granted permanent global injunctions ordering that the material not be published because of the disastrous consequences such disclosure might have for the former convicts, not least the possibility of physical harm or death (hence claims for Article 2 rights (right to life) were entertained, and sympathised with).
 * A and Others v Secretary of State for the Home Department [2004] UKHL 56: On 16 December 2004, the House of Lords held that Part 4 of the Anti-terrorism, Crime and Security Act 2001, under whose powers a number of non-UK nationals were detained in Belmarsh Prison, was incompatible with the Human Rights Act. This precipitated the enactment of the Prevention of Terrorism Act 2005 to replace Part 4 of the 2001 Act.
 * R v Chauhan and Hollingsworth: Amesh Chauhan and Dean Hollingsworth were photographed by a speed camera in 2000. As is standard practice for those caught in this way, they were sent a form by the police asking them to identify who was driving the vehicle at the time. They protested under the Human Rights Act, arguing that they could not be required to give evidence against themselves. An initial judgment, by Judge Peter Crawford at Birmingham Crown Court, ruled in their favour, but this was later reversed. The same issue came to light in Scotland with Procurator Fiscal v Brown [2000] UKPC D3, in which a woman, when apprehended on suspicion of theft of a bottle of gin, was drunk and was asked by police to identify who had been driving her car (which was nearby) at the time she arrived at the superstore.
 * Price v Leeds City Council [2005] EWCA (Civ) 289: On 16 March 2005 the Court of Appeal upheld a High Court ruling that Leeds City Council could not infringe the right to a home of a Romani family, the Maloneys, by evicting them from public land. The court however referred the case to the House of Lords as this decision conflicted with a ruling from the European Court of Human Rights (ECtHR).
 * An NHS Trust v MB: In March 2006, the High Court in London ruled against a hospital's bid to turn off the ventilator that kept the child, known as Baby MB, alive. The 19-month-old baby had the genetic condition spinal muscular atrophy, which leads to almost total paralysis. The parents of the child fought for his right to life, while medics said the invasive ventilation would cause an "intolerable life".
 * Connors v UK: A judgment given by ECtHR declared that Travellers who had their licences to live on local authority-owned land suddenly revoked had been discriminated against, in comparison to the treatment of mobile-home owners who did not belong to the traveller population, and thus their Article 14 (protection from discrimination) and Article 8 (right to respect for the home) rights had been infringed. However, there has never been a case where the Act has been successfully invoked to allow travellers to remain on greenbelt land, and indeed the prospects of this ever happening seem highly unlikely after the House of Lords decision in Kay v Lambeth LBC which severely restricted the occasions on which Article 8 may be invoked to protect someone from eviction in the absence of some legal right over the land.
 * 2006 Afghan hijackers case: In May 2006, a politically controversial decision regarding the treatment of nine Afghan men who hijacked a plane to flee from the Taliban caused widespread condemnation by many tabloid newspapers (most notably The Sun), the broadsheets and the leaders of both the Labour Party and the Conservative Party. It was ruled by an Immigration Tribunal, under the Human Rights Act, that the hijackers could remain in the United Kingdom; a subsequent court decision ruled that the government had abused its power in restricting the hijackers' right to work.
 * Mosley v News Group Newspapers Limited (2008), Max Mosley challenged an invasion of his private life after the News of the World exposed his involvement in a sadomasochistic sex act. The case resulted in Mr Mosley being awarded £60,000 in damages.

Excessive rights
During the campaign for the 2005 parliamentary elections the Conservatives under Michael Howard declared their intention to "overhaul or scrap" the Human Rights Act: The time had come to liberate the nation from the avalanche of political correctness, costly litigation, feeble justice, and culture of compensation running riot in Britain today and warning that the politically correct regime ushered in by Labour's enthusiastic adoption of human rights legislation has turned the age-old principle of fairness on its head.

"The schoolboy arsonist allowed back into the classroom because enforcing discipline apparently denied his right to education; the convicted rapist given £4000 compensation because his second appeal was delayed; the burglar given taxpayers' money to sue the man whose house he broke into; travellers who thumb their nose at the law allowed to stay on green belt sites they have occupied in defiance of planning laws."

The schoolboy referred to was speculatively suing for compensation and was a university student at the time of the court case. In addition, the claim was rejected.

Judicial powers
Constitutional critics since the Human Rights Bill was tabled at parliament claimed it would result in the unelected judiciary making substantive judgments about government policies and "mass-legislating" in their amendments to the common law resulting in a usurpation of Parliament's legislative supremacy and an expansion of the UK courts' justiciability. A leading case of R (on the application of Daly) v Secretary of State for the Home Department highlights how the new proportionality test borrowed from ECtHR jurisprudence has allowed a greater scrutiny of the substantive merits of decisions of public bodies, meaning that actions against such bodies, judicial reviews, are more of an appeal than a traditional judicial review.

They stress the overriding interpretative obligation of courts under section 3(1) of the Human Rights Act to read primary legislation as Convention-compliant, so far as is possible, is not dependent upon the presence of ambiguity in legislation. Section 3(1) could require the court to depart from the unambiguous meaning that legislation would otherwise bear subject to the constraint that this modified interpretation must be one "possible" interpretation of the legislation. Paul Craig argues that this results in the courts adopting linguistically strained interpretations instead of issuing declarations of incompatibility.

Journalistic freedom
In 2008, Paul Dacre (as editor of the Daily Mail) criticised the Human Rights Act for allowing, in effect, a right to privacy at English law despite the fact that Parliament has not passed such legislation. He was referring to the indirect horizontal effect of the Human Rights Act on the doctrine of breach of confidence which has moved English law closer towards a common law right to privacy. In response, the Lord Chancellor, Lord Falconer stated that the Human Rights Act had been passed by Parliament, that people's private lives needed protection and that the judge in the case had interpreted relevant authorities correctly.

Inadequacy
In contrast, some have argued that the Human Rights Act does not give adequate protection to rights because of the ability for the government to derogate from Convention rights under article 15. Recent cases such as R (ProLife Alliance) v BBC [2002] EWCA Civ 297 have been decided in reference to common law rights rather than statutory rights. Where there is no clear precedent in the common law, judges remain accused of judicial activism.

Terrorism-related complaints
Some politicians in the two largest parties, including some ministers, have criticised the Human Rights Act as to the willingness of the judiciary to make declarations on incompatibility against terrorism legislation. Baron Reid argued that the Act was hampering the fight against global terrorism in regard to controversial control orders: There is a very serious threat – and I am the first to admit that the means we have of fighting it are so inadequate that we are fighting with one arm tied behind our backs. So I hope when we bring forward proposals in the next few weeks that we will have a little less party politics and a little more support for national security.

Planned replacement
In 2007, Howard's successor as Leader of the Opposition, David Cameron, vowed to repeal the Human Rights Act if he was elected, instead replacing it with a Bill of Rights for Britain. The human rights organisation JUSTICE released a discussion paper entitled A Bill of Rights for Britain?, examining the case for updating the Human Rights Act with an entrenched bill.

Following the 2010 general election, the Conservative–Liberal Democrat coalition agreement said that the Human Rights Act would be investigated.

In 2011, following controversial rulings from both the European Court of Human Rights (ECtHR) and the Supreme Court of the United Kingdom, David Cameron suggested a "British Bill of Rights". The government commission set up to investigate the case for a Bill of Rights had a split of opinion.

Judge Dean Spielmann, the President of ECtHR, warned in 2013 that the United Kingdom could not withdraw from the Convention on Human Rights without jeopardising its membership of the European Union. It has also been claimed that, since the Good Friday Agreement (which ended the sectarian terrorist violence of the Troubles) is founded on the convention, it would be breached by any withdrawal.

In 2013 a tribunal ruled that Poole borough council had violated the human rights act when they used the Regulation of Investigatory Powers Act 2000 to conduct surveillance on a family over the matter of school catchment area.

In 2014, the Conservative Party planned to repeal the Act and replace it with a "British Bill of Rights".

Following the 2015 election win for the Conservative Party, Michael Gove, the Secretary of State for Justice, was charged with implementing the reforms which were previously blocked by the Liberal Democrats in the coalition government. The Conservative Party manifesto said that the new bill will "break the formal link between British Courts and the European Court of Human Rights". As before 1998, claims relying on ECtHR jurisprudence which conflicted with the "British Bill of Rights" would have to go to a court in Strasbourg rather than being able to be heard in the UK.

However, the Conservatives' manifesto from the next general election in 2017 pledged to retain the Human Rights Act "while the process of Brexit is underway".

This has since changed once again, as the rise of Suella Braverman in the Conservative Party saw the HRA campaigned against in its entirety. Her admission to Home Secretary led to the Nationality and Border's Bill which was conceded as a likely breach of the act - nevertheless, Sunak has sought for Strasbourg to change the act to comply with the law. The act has received royal assent and a legal challenge is soon to be expected.

A potential replacement, the Bill of Rights Bill 2022, was drafted on 22 June 2022 but scrapped on 27 June 2023.

title: Human Rights Act 1998


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Fame (1980 film)

Fame is a 1980 American teen musical drama film directed by Alan Parker and written by Christopher Gore. Set in New York City, it chronicles the lives and hardships of students attending The High School of Performing Arts, from their auditions to their freshman, sophomore, junior, and senior years.

Producer David De Silva conceived the premise in 1976, partially inspired by the musical A Chorus Line. He commissioned playwright Gore to write the script, originally titled Hot Lunch, before selling it to Metro-Goldwyn-Mayer (MGM). After he was hired to direct the film, Parker rewrote the script with Gore, aiming for a darker and more dramatic tone. The script's subject matter received criticism by the New York Board of Education, which prevented the production from filming in the actual High School of Performing Arts. The film was shot on location in New York City, with principal photography beginning in July 1979 and concluding after 91 days. Parker encountered a difficult filming process, which included conflicts with U.S. labor unions over various aspects of the film's production.

Fame received a limited release beginning at the Ziegfeld Theatre in New York City on May 12, 1980, and had a wide release in the United States on June 20, by United Artists. The film grossed over $42 million worldwide against a production budget of $8.5 million. It initially received a mixed response from reviewers who praised the music, but criticized the dramatic tone, pacing and direction although the film has been reappraised over the years. The film received several awards and nominations, including two Academy Awards for Best Original Song ("Fame") and Best Original Score, and a Golden Globe Award for Best Original Song ("Fame"). Its success spawned a media franchise encompassing several television series, a stage musical, and a remake released in 2009.

In 2023, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Plot
Auditions

In New York City in the late 1970s, a group of teenagers audition to study at the High School of Performing Arts, where they are sorted into three different departments: Drama, Music, and Dance. Accepted in the Drama department are Montgomery MacNeil, son of a well-known actress; Doris Finsecker, a shy Jewish girl with an overbearing mother; and Ralph Garci, who succeeds after failed auditions for Music and Dance. In the Music department, Bruno Martelli is an aspiring keyboardist whose electronic equipment horrifies Mr. Shorofsky, a conservative music teacher. In the Dance department, Coco Hernandez coolly hints at how she could join any of the three departments while Lisa Monroe is talkative and nervous. Leroy Johnson attends to perform his part of a dance routine for an auditioning friend, but the dance teachers are more impressed by his talents than his friend's.

Freshman year

The students learn during their first day of classes that academics are weighed equally with performance. In the lunchroom, Doris becomes overwhelmed by the energy and spontaneity of the other students ("Hot Lunch Jam"). She befriends Montgomery, but worries that she is too ordinary against the colorful personalities of the other students. As the year progresses, Coco tries to convince Bruno to book performing gigs with her. Leroy clashes with his English teacher Mrs. Sherwood over his refusal to do homework. It is later revealed that he is semi-illiterate. Bruno and his father argue over Bruno's reluctance to play his electronic music publicly. Miss Berg, the school's Dance teacher, warns Lisa that she is not working hard enough. Michael, a graduating senior, wins a prestigious scholarship and tells Doris that the William Morris Agency wants to send him out for auditions for television pilots.

Sophomore year

A new student, Hilary van Doren, joins the school's Dance department and becomes romantically involved with Leroy. Bruno and Mr. Shorofsky debate the merits of traditional orchestras versus synthesized instruments. Bruno's father plays his music ("Fame") outside the school, inspiring the student body to dance in the streets. As an acting exercise, the students are asked to divulge a painful memory. Montgomery discusses discovering his homosexuality, while coming out in front of his classmates; Doris relates her humiliation at being forced by her stage mother to sing at a child's birthday party; and Ralph tells of learning about the death of his idol Freddie Prinze. Miss Berg drops Lisa from the Dance program, and after seemingly considering suicide in a New York City Subway station, Lisa drops her dance clothes on the subway tracks and decides to join the Drama department.

Junior year

Ralph and Doris discover their mutual attraction, but their growing intimacy leaves Montgomery feeling excluded. Hilary brings Leroy home, much to the shock of her father and stepmother. Ralph's young sister is attacked by a junkie and Ralph lashes out at his mother's attempts to comfort the child by taking her to the local Catholic church, instead of to a doctor. Doris begins to question her Jewish upbringing, changing her name to "Dominique DuPont" and straining the relationship with her mother. During a late-night showing of The Rocky Horror Picture Show at the 8th Street Playhouse, Ralph encourages Doris to smoke marijuana. Intoxicated, Doris takes part in the stage show during the film's "Time Warp" musical number. The next day, she realizes that as an actress she can put on any personality she wants, but is sobered upon running into Michael, who is struggling as an actor and waiting tables.

Senior year

Ralph performs comedy at Catch a Rising Star, where he garners some initial success, but falls into a hard-party lifestyle which upsets Doris. Given a prime spot at another comedy club, he bombs after clashing with both Doris and Montgomery over his new lifestyle. Disgusted with himself, Ralph believes his career is over, but is comforted by Montgomery, who tells him that failure is a part of the entertainment business. Hilary, now pregnant, plans to have an abortion and move to California to take a position with the San Francisco Ballet company. Coco is approached in a diner by a man claiming to be a director; she naïvely goes to his apartment for a screen test, but discovers that he is an amateur pornographic film director. He manipulates her into taking her shirt off, as he films her sobbing. Leroy is offered a position in Alvin Ailey's dance company, but must graduate first in order to be accepted. After receiving a failing grade, he confronts a grieving Mrs. Sherwood outside her husband's hospital room, but upon realizing that she has her own problems, he comforts her. During graduation, the student body showcases their talents by performing an original song ("I Sing the Body Electric"). The opening lines are sung by Lisa, Coco, and Montgomery. Intercut with the performance are scenes of Leroy dancing and Bruno playing with a rock band, finally sharing his music with others.

Development and writing
In 1976, talent manager David De Silva attended a stage production of A Chorus Line and noticed that one of the musical numbers, "Nothing", had made a reference to the New York City High School of Performing Arts. The musical inspired him to create a story detailing how ambition and rejection influence the lives of adolescent students. In 1977, De Silva travelled to Florida, where he met playwright Christopher Gore. He paid Gore $5,000 to draft a script titled Hot Lunch, and provided story ideas involving the plot and characters. De Silva took the project to Metro-Goldwyn-Mayer (MGM), which acquired the script for $400,000.

Director Alan Parker received the script after the release of his previous film Midnight Express (1978). He met with De Silva in New York City where the two agreed that Parker would draft his own script, with Gore receiving sole screenwriting credit. Parker also enlisted his colleague Alan Marshall as a producer. Gore travelled to London where he and Parker began work on a second draft, which was significantly darker than what De Silva had intended. De Silva explained, "I was really motivated and interested in the joy of what the school represented for these kids, and [Parker] was really much more interested in where the pain was in going to the school, and so we had our little conflicts based on that area."

Parker signed on as the film's director in February 1979, and relocated to Greenwich, Connecticut, to begin pre-production. While working on the script, he interacted with many of the students attending the Performing Arts school. Several of them invited Parker to attend a midnight screening of The Rocky Horror Picture Show (1975) at the 8th Street Playhouse. Parker attended a weekend screening with Marshall, and the enthusiastic crowd inspired him to write a similar scene for the film, during which the character Doris Finsecker dances along to the "Time Warp" musical number. During filming, Parker noticed that a pornographic film showing on 42nd Street was titled Hot Lunch, and was informed that the title was "New York slang for oral sex." In response, MGM offered several working titles before Parker named the film Fame after the 1975 song performed by David Bowie.

Casting
Although Parker had promised to hold auditions at the High School of Performing Arts, the school was initially advised by the Board of Education to prevent the students from working on the film, fearing it would affect their studies. It was later announced that filming would occur during the summer when the students were not attending school. Parker distributed casting call advertisements at the Performing Arts school and the High School of Music & Art. He and casting directors Margery Simkin and Howard Feuer spent four months of the film's pre-production auditioning young performers. They held an open casting call at the Diplomat Hotel on 43rd Street in Manhattan where more than 2,000 people auditioned for various roles.

Of the many students that Parker met at the Performing Arts, only Laura Dean, who plays Lisa Monroe, was cast in a principal role while others were cast as extras. The school's drama teacher Jim Moody plays as Mr. Farell, and its music teacher Jonathan Strasser appears as a conductor. Music composer and actor Albert Hague secured the role of music teacher Mr. Shorofsky, as Parker wanted a veteran musician to play the part.

Irene Cara, a former student of the school, was cast as Coco Hernandez. Parker was not impressed with Cara's musical audition, until after her recording sessions with the film's composer Michael Gore. Gene Anthony Ray, who plays Leroy Johnson, was also a Performing Arts student but had been expelled from the school for disruptive behavior. Simkin had discovered Ray breakdancing on a street corner in Harlem before asking him to audition for a role in the film.

Lee Curreri, who was cast as Bruno Martelli, learned of the production while attending the Manhattan School of Music. During his audition, Paul McCrane performed an original song he had written, "Is It Okay If I Call You Mine?". He was cast as Montgomery MacNeil, and the song inspired Parker to include it in the film. Barry Miller, who achieved critical acclaim for his supporting role in Saturday Night Fever (1977), was cast as Ralph Garci, an aspiring actor and standup comic of Puerto Rican descent.

Maureen Teefy, an established actress of Irish descent, was cast as Doris Finsecker, a shy and uptight Jewish girl. De Silva disagreed with her casting, stating, "... I'd envisioned [Doris] as a 16-or 17-year-old Barbra Streisand from Brooklyn, and when [Parker] cast this Irish actress that was a trouble ... that was my only reservation; I really had envisioned she was a young Barbra Streisand, a Jewish girl." Parker and the casting department had difficulty finding an actress for the role of Hilary Van Doren. Antonia Franceschi, who was previously a background dancer in Grease (1978), secured the role based on the strength of her audition. Meg Tilly appears in her acting debut as a dancer. In his first credited screen role, Peter Rafelson, son of Bob Rafelson, plays as a musician and vocalist.

Filming

Principal photography began on July 9, 1979, with a budget of $8.5 million. Parker described shooting in New York City as a less than pleasurable experience due to the intense summer weather conditions. He also faced difficulties with U.S. labor union representatives who disapproved of the British crew members working on the film without permits. In order to gain work permits, Parker made an agreement with the unions that allowed local laborers to work on the film.

During filming, the crew and several cast members objected to cinematographer Michael Seresin and camera operator John Stanier's European style of single-source lighting, which involved the use of smoke from incense burners to diffuse the light. In response, representatives of the Screen Actors Guild (SAG) and the International Alliance of Theatrical Stage Employees (IATSE) halted the production, and forbade Parker from using smoke on the set.

The filmmakers had originally planned to shoot the film at the Performing Arts school, but were denied by the Board of Education over the content of the script. After consulting with Nancy Littlefield, the head of the New York City Mayor's Office of Film, Theater and Broadcasting, Parker was granted a meeting with the Board's members, who explained that they were concerned with the script's profanity, sexual content and depictions of drug use, as well as his depiction of Turkish prisons in Midnight Express. After the filmmakers expressed interest in moving the production to Chicago, Littlefield reviewed abandoned-city properties and discovered two unused schools, Haaren High School and Performance Space 122. Both schools were converted and used for all the interior scenes. MGM spent approximately $200,000 transforming Haaren High into a sound stage, with carpentry shops and production offices. The location was used to shoot the film's finale, a graduation ceremony. The sequence was filmed in four days, and employed 400 extras and 150 student musicians.

The exterior of the school was shot using the left wing of the then-abandoned Church of Saint Mary the Virgin building almost directly opposite the real school on West 46th Street in Times Square. The Rocky Horror Picture Show midnight screening sequence was filmed at the 8th Street Playhouse located on 52 West 8th Street, New York. Sal Piro, president of The Rocky Horror Picture Show Fan Club, appears as an emcee at the screening. Parker later hired Steadicam inventor and operator Garrett Brown to film Doris and Ralph's dialogue scene in a New York City Subway station. Montgomery MacNeil's apartment was located on 1564 Broadway, at West 46th Street in Manhattan.

The "Fame" musical number was filmed on 46th Street in three days, with eight choreographed routines, 150 student background actors and 50 professional dancers. The dancers performed to the Donna Summer song "Hot Stuff", as the song "Fame" had not yet been written. Before the sequence was filmed, Stanier left the production for personal reasons. During filming, Seresin chose to operate the camera himself for several hours before International Alliance of Theatrical Stage Employees (IATSE) representatives visited the set, and advised Parker that a cinematographer was forbidden to operate a camera, and that the production would be shut down permanently if he did not hire an operator from their union. The following day, the New York Police Department demanded that the cast and crew take a 4:00 p.m. curfew due to complaints of traffic blockages. In addition, the dancers demanded extra pay for performing stunts on top of taxicabs. Principal photography concluded after 91 days.

Music
The music was composed by Michael Gore. Parker had originally approached Giorgio Moroder, who had previously worked on Midnight Express, and Jeff Lynne, the lead performer of Electric Light Orchestra (ELO), both of whom had declined. The musical numbers were performed practically on set, as Parker wanted to avoid dubbing during post-production. The song "Hot Lunch Jam" was heavily improvised. Parker explained, "This song evolved from an all day session involving groups of kids from all disciplines, as we cobbled together the song with everyone chipping in their contributions." The filming of the "Fame" musical number inspired Gore to write an original song inspired by Donna Summer. He and lyricist Dean Pitchford spent one month writing the lyrics. Pitchford improvised the lyrics "I'm gonna live forever", inspired by a line of dialogue from the 1964 play Dylan. During the recording sessions, Luther Vandross acted as the song's contractor, in charge of the backup vocals. He improvised the lyrics "Remember, remember, remember", and performed it with backing vocalists Vivian Cherry and Vicki Sue Robinson. The song was later incorporated into the filmed dance sequence during post-production.

Parker wanted the film to end with a huge musical number that would showcase every character. While drafting the script during pre-production, he was partially inspired by the ELO song, "Eldorado". Parker turned to Gore and Pitchford, requesting that they write a song would combine the film's three musical elements: gospel, rock and classical. The resulting song, "I Sing the Body Electric", was named by Pitchford after the same-titled poem from Walt Whitman's "Leaves of Grass" collection.

Release

Fame premiered at the Ziegfeld Theatre on May 12, 1980. MGM issued a platform release which involved opening the film in select cities for limited showings, before releasing it nationwide. The studio was concerned with the film's cast of then-unknown actors, and felt that the limited theatrical run would generate strong word-of-mouth support from critics and audiences. On May 16, 1980, Fame premiered at the Cinerama Dome Theatre in Hollywood, and opened in limited release in New York, Toronto and Los Angeles. MGM spent more than $2 million on an advertising campaign which placed emphasis on the film's music. The studio also allowed select theatre chains to give out free tickets for special screenings. Fame was released nationwide on June 20, 1980, distributed by MGM through United Artists. In the United States and Canada, it grossed $21,202,829, and was the thirty-second highest-grossing film of 1980. By April 1981, the film had grossed $20.4 million overseas and was expected to gross $29 million, giving it a worldwide gross of between $42-$50 million.

Home media
Fame was released on VHS and Laserdisc in March 1981, by MGM/CBS Home Video. In 1986, the distribution rights to the film were transferred to Turner Entertainment Co., which acquired MGM's pre-May 1986 library of feature films. Currently, the rights are owned by Warner Bros., after its parent company Time Warner acquired Turner's library of MGM films in 1996. The film was released on DVD on June 3, 2003, by Warner Home Video. Special features for the DVD include an audio commentary by Parker, a branching video featuring interviews with Parker and several cast members, a making-of featurette, a short documentary on the High School of Performing Arts, production notes, and the theatrical trailer. As a tie-in to the home video release of MGM's 2009 remake, Warner Home Video released the film on Blu-ray on January 26, 2010. The Blu-ray presents the film in 1080p high definition, and contains all the additional materials found on the 2003 DVD release, including a CD "soundtrack sampler" that previews four musical numbers from the soundtrack album.

Critical response
On the review aggregation website Rotten Tomatoes, Fame holds an approval rating of 79% based on 34 reviews, with an average score of 7/10. The website's consensus reads, "Just because Fame is a well-acted musical doesn't mean it flinches against its surprisingly heavy topics." Although initial reactions among film critics were mixed, Barry Miller received critical acclaim for his performance. Jack Matthews of the Associated Press wrote "Barry Miller bolts from the screen with a performance that will etch itself into the viewer's mind for a long time to come" Gene Siskel of the Chicago Tribune awarded the film two-and-a-half stars out of four, writing, "When the kids perform, the movie sings, but their fictionalized personal stories are melodramatic drivel." Dave Kehr of the Chicago Reader wrote, "The film is cut at such a frenzied pitch that it's often possible to believe (mistakenly) that something significant is going on." Variety magazine wrote, "The great strength of the film is in the school scenes – when it wanders away from the scholastic side as it does with increasing frequency as the overlong feature moves along, it loses dramatic intensity and slows the pace." Roger Ebert of the Chicago Sun-Times awarded the film three-and-a-half stars out of four writing, "Fame is a genuine treasure, moving and entertaining, a movie that understands being a teen-ager as well as Breaking Away did, but studies its characters in a completely different milieu." William Gallagher, in his review for the BBC, wrote, "Alan Parker manages to make this a fairly horrible story even while it remains entertaining. You come away from it with all your preconceptions about the glamour of showbusiness wiped away and you can't help but admire the characters who get through."

Franchise
Following the film's release, a television spin-off, Fame, aired on the NBC network for two seasons from January 7, 1982, to August 4, 1983. The series was then renewed for first-run syndication, and four additional seasons were produced. Returning cast members from the film included Lee Curreri, Albert Hague, Gene Anthony Ray and Debbie Allen. The show's popularity, particularly in the United Kingdom, led to the formation of a music group, The Kids from "Fame". The main vocalists were Allen, Ray, Curerri, Valerie Landsburg, Erica Gimpel, Carlo Imperato, and Lori Singer. In 1982, the band released two albums, The Kids from "Fame" and The Kids from "Fame" Again, which were largely successful in the United Kingdom. The band members also went on tour, performing as their characters live on stage. After the series was renewed, The Kids from "Fame" produced three additional albums, all of which proved less successful and resulted in the band members parting ways to pursue other projects.

In 1987, producer David De Silva announced he was developing a stage version of the film. Fame: The Musical was the first professional production at the Coconut Grove Playhouse in Miami in 1988. The show then played at the Walnut Street Theatre in Philadelphia from March 25 through April 29, 1989. The musical has since been produced in over 25 countries.

In 1997, MGM Television produced a second series inspired by the film. Fame L.A., created by Richard B. Lewis, focused on the lives of several students attending a drama and dance school in Los Angeles. The series featured Christian Kane, Roselyn Sánchez, William R. Moses, and Lesli Margherita in starring roles. It aired in syndication from October 19, 1997, to March 21, 1998.

In 2002, MGM and Touchstone Television planned to develop a two-hour television film that would serve as a direct sequel to Fame, followed by a spin-off television series. Both projects were to be produced for the ABC network. The television film was to introduce several students applying for positions at the New York City of Performing Arts, while the spin-off series would focus on their lives during their four years of attending the school. The series would feature new cast members as the young students, as well as those from the 1980 film, as well as updated versions of the songs "Fame" and "Out Here on My Own". Michael Gore was to act as an executive producer for both projects with his producing partner Lawrence Cohen, through their production label White Cap Productions. However, both television projects were never produced.

In 2003, MGM Television produced a reality television series titled Fame, in an attempt to capitalize on the success of the largely popular American Idol. The concept of the series involves discovering a "triple threat"—a person who can sing, act and dance and has a "bigger-than-life" personality. The show, co-hosted by Debbie Allen, and Joey Fatone, featured Carnie Wilson, Johnny Wright and JoJo Wright as the panel of judges. The series premiered on NBC on May 28, 2003, and a total of ten episode were produced. The two competing finalists of the series were Shannon Bex and Harlemm Lee. Lee emerged as the winner of the competition, based on home-audience votes.

In 2012, MGM Television announced it would produce a modern-day television series inspired by the film, with Nigel Lythgoe acting as an executive producer. The project resurfaced in June 2015, when The Hollywood Reporter announced that MGM Television would be co-producing the series with A&E Networks for Lifetime, with Josh Safran attached as the show's writer and executive producer.

Remake
In 2009, MGM and Lakeshore Entertainment produced a remake of Fame directed by Kevin Tancharoen, and written by Allison Burnett. The remake followed the premise of the original film, depicting the lives of several students as they attend the New York City High School of Performing Arts. Debbie Allen was the only cast member from the 1980 film to have a supporting role, appearing as the school's principal. The film was notable for its lighter tone, in contrast to the earlier film's gritty subject matter. Released on September 25, 2009, Fame received generally unfavorable reviews from mainstream film critics. It was a modest box office success upon release in the United States, though it fared better internationally, grossing $54.7 million worldwide. Parker voiced his disapproval of the remake and described it as an "awful" film. Maureen Teefy also criticized the film, stating, "They're using the same formula, but it doesn't have the same substance. It's not staying true to the grittiness and authenticity of the original."

Future
In April 2023, after previously acquiring MGM, Amazon announced plans to expand the franchise with television series in development from Amazon Studios.

Aftermath and legacy
Fame and Pennies From Heaven were the last films to be produced by MGM, before the studio merged with United Artists in 1981. The film has been credited with revitalizing the teen musical subgenre by adding dramatic elements into its story, echoing 1950s melodramas. Its presentation of musical numbers in the style of a music video was a major influence on other 1980s films in the dance film genre, such as Flashdance (1983), Footloose (1984) and Dirty Dancing (1987). It also inspired the creation of other similar performing arts schools around the world, including the Liverpool Institute for Performing Arts (LIPA), and the BRIT School.

The film and its title song helped launch Irene Cara's musical career. She recorded three solo albums and contributed to several film soundtracks, notably performing "Flashdance...What a Feeling", the title song for Flashdance, for which she won the Academy Award for Best Original Song. Paul McCrane, Meg Tilly, and Barry Miller (who won the Tony Award in 1985 for Neil Simon's "Biloxi Blues") went on to successful acting careers, while Gene Anthony Ray, Debbie Allen and Lee Curerri found success and popularity with the television series.

Ray struggled with drug and alcohol addictions, and worked sporadically after the series ended in 1987. In 1996, he was diagnosed as HIV-positive and died after a stroke on November 14, 2003.

The film was Christopher Gore's only original screenplay. He was also involved with the 1982 television series as its creator, and wrote several episodes before his death from AIDS on May 18, 1988.

After Fame, Louis Falco continued to work as a commercial choreographer for several music videos and films. He again collaborated with Parker on the 1987 film Angel Heart before his death from AIDS on March 26, 1993.

In 2004, the American Film Institute (AFI) ranked the song "Fame" at #51 on its "100 Years...100 Songs" list. In 2006, AFI placed the film on its "100 Years...100 Cheers" list, where it was ranked #92. The film also ranked #42 on Entertainment Weekly's list of the "50 Best High School Movies". In 2014, IndieWire added the song "Fame" to its list of "The 20 Greatest Movie Theme Songs of the 1980s".

In 2023, the film was selected for preservation to the National Film Registry by the Library of Congress after being deemed "culturally, historically, or aesthetically significant".

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

title: Fame (1980 film)


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Dian Wei

Dian Wei (died February or March 197) was a military general serving under the warlord Cao Cao in the late Eastern Han dynasty of China. Famed for his enormous strength, Dian Wei excelled at wielding a pair of jis (a halberd-like weapon), each of which was said to weigh 40 jin. He was killed in action at the Battle of Wancheng while covering Cao Cao's escape from Zhang Xiu's forces.

Background
Dian Wei was from Jiwu County (己吾縣), Chenliu Commandery (陳留郡), in present-day Ningling County, Henan. He was described as a stalwart man with great strength and the ambition of becoming a youxia (vigilante).

Assassinating Li Yong
When he was young, Dian Wei once agreed to help a certain Liu family in Xiangyi County (襄邑縣; present-day Sui County, Henan) take revenge against one Li Yong (李永). As Li Yong was a former county chief, he had bodyguards to protect him during his travels.

Dian Wei disguised himself as a marquis and travelled to Li Yong's house in a carriage filled with food and wine. He entered the house without challenge, stabbed Li Yong with a concealed dagger, and killed Li Yong's wife as well. He then left the house and retrieved his weapons (a sword and a ji) from the carriage and walked away. As Li Yong lived near the marketplace, news of his death spread quickly and the whole town was shocked. Hundreds of men went to pursue the murderer but none of them dared to approach Dian Wei. After travelling four or five li on foot, Dian Wei met his companions and they escaped after a brief fight with the pursuers. Dian Wei became recognised as a hero after this incident.

Service under Cao Cao
Around February or March 190, when the regional official Zhang Miao was rallying an army to join the campaign against Dong Zhuo, Dian Wei answered the call and became a subordinate of Zhao Chong (趙寵), a military officer serving under Zhang Miao. Once, a large banner was swaying in the strong wind and many men could not stop it from swaying despite their combined efforts. Dian Wei used only one hand to grab the banner pole and succeeded in keeping it upright. Zhao Chong was very impressed with Dian Wei's strength.

Dian Wei later became a subordinate of Xiahou Dun, a general under the warlord Cao Cao. He was promoted to the rank of Major (司馬) for his valour in battle.

Battle of Puyang
Around September 194, when Cao Cao was at war with a rival warlord Lü Bu in Yan Province, he launched a surprise night raid on one of Lü Bu's camps located 40-50 li west of Puyang County and destroyed it before dawn. Just as Cao Cao and his troops were planning to return to their base, Lü Bu personally led reinforcements from Puyang County to attack them and caught them in an onrush.

Dian Wei ordered dozens of men to gather around him, put on two layers of armour, discard their shields and arm themselves only with spears and jis. Another wave of enemy soldiers closing in from the west unleashed a barrage of arrows onto Dian Wei and his men. Dian Wei remained oblivious to the arrows and told his men, "Let me know when the enemy is ten paces away." The men did so. Dian Wei then said again, "Let me know when they are five paces away." The men then suddenly cried out in fear, "The enemy is upon us!" Dian Wei was holding on to a dozen jis, and he flung them at the enemy when they approached him. Each ji knocked down an enemy soldier and not a single one missed its target.

As the sun rose, Lü Bu retreated back to Puyang while Cao Cao withdrew back to his base as well. Cao Cao was so impressed with Dian Wei that he promoted him to the rank of Commandant (都尉) and put him in command of hundreds of his personal bodyguards who patrolled the areas around his tent.

As Cao Cao's bodyguard
Dian Wei was a robustly built fighter. He personally selected the soldiers who would serve under him. In battle, Dian Wei and his men were always the first to charge into the enemy formation. Dian Wei was later promoted to the rank of Colonel (校尉).

Dian Wei was known for being a loyal, prudent and responsible man. He often stood guard outside Cao Cao's tent from morning until dusk, and even at night he would sleep beside Cao Cao's tent, and he rarely returned to his own quarters. He was also a heavy eater and drinker, eating in huge mouthfuls and drinking in long gulps. Because of his enormous appetite, several men were required to serve him whenever he sat down for meals. Cao Cao was very impressed with him.

Dian Wei's weapons of choice were a pair of jis or long swords. There was a saying in Cao Cao's army about Dian Wei: "In our camp resides the warrior Dian Wei, who wields a pair of jis weighing 80 jin in total."

Death at the Battle of Wancheng

In February 197, Cao Cao invaded Wancheng (宛城; present-day Wancheng District, Nanyang, Henan) in the north of Jing Province. Wancheng was the territory of the warlord Zhang Xiu, who immediately surrendered upon learning of Cao Cao's invasion. Cao Cao was pleased so he threw a party for Zhang Xiu and his men. During the party, Dian Wei stood guard behind Cao Cao, holding a giant battle axe whose blade was one chi long. Zhang Xiu and his followers did not dare to look up when they toasted to Cao Cao.

Cao Cao had stayed in Wancheng for more than 10 days when Zhang Xiu suddenly rebelled and launched a surprise attack on his camp. Cao Cao was caught unprepared so he retreated with a few horsemen.

Dian Wei stood guard at the entrance to the camp and prevented Zhang Xiu's soldiers from advancing further. The enemy then scattered and broke into Cao Cao's camp from the other entrances. Dian Wei had about a dozen men with him and they were all heavily outnumbered by Zhang Xiu's forces. However, Dian Wei fought bravely with a long ji, and with each swing of his weapon, he broke more than ten enemy spears. As the battle went on, Dian Wei's men were eventually all killed and Dian himself had sustained several wounds all over his body, but he continued fighting the enemy at close quarters with short weapons. Dian Wei grabbed two enemies and killed them, and the others did not dare to approach him. Dian Wei then rushed forward and slew several more enemy soldiers before eventually succumbing to his wounds. Just before his death, he was still glaring and swearing at the enemy. Only after confirming that Dian Wei was dead did the enemies dare to come forward and decapitate him. Dian Wei's head was passed around for Zhang Xiu's men to see. They also came to look at his headless body.

By then, Cao Cao had already retreated safely to Wuyin County (舞陰縣; southeast of present-day Sheqi County, Henan), and he broke down in tears when he heard of Dian Wei's death. He ordered his men to retrieve Dian Wei's body and personally attended the funeral and had Dian Wei buried in Xiangyi County (襄邑縣; present-day Sui County, Henan). Later, whenever Cao Cao passed by Dian Wei's grave, he would stop to pay his respects and mourn Dian Wei.

Family
Cao Cao appointed Dian Wei's son, Dian Man (典滿), as a langzhong (郎中). Cao Cao missed Dian Wei later so he promoted Dian Man to Major (司馬) and kept Dian Man close to him. After Cao Cao died in March 220, his son Cao Pi appointed Dian Man as a Commandant (都尉) and granted him the title of a Secondary Marquis (關內侯).

In Romance of the Three Kingdoms
Dian Wei appears as a character in the 14th-century historical novel Romance of the Three Kingdoms, which romanticises the historical events before and during the Three Kingdoms period.

Dian Wei first appeared in Chapter 10, and he was first introduced by Xiahou Dun to Cao Cao sometime in 193. According to Xiahou Dun, Dian Wei used to serve Zhang Miao but he could not get along well with Zhang's men, and he once killed tens of men before fleeing into the hills. While Xiahou Dun was out hunting, he saw Dian Wei chasing a deer across a stream and he brought the man back to his lord. Xiahou Dun continued to tell Cao Cao about Dian Wei's background and physical prowess. Cao Cao then asked Dian Wei to demonstrate his skills. At that time, a huge banner was swaying in the wind and was on the verge of collapsing. Many of Cao Cao's men were unable to keep the banner upright even with their combined efforts. Dian Wei shouted at them to move back and he grabbed the banner pole with one hand and kept it steady. Cao Cao exclaimed, "This is Elai of ancient times!" Dian Wei then became a Commandant under Cao Cao.

Dian Wei's death at the Battle of Wancheng is described in greater detail in Chapter 16, but is more exaggerated than his historical biography. In this exaggeration, it was mentioned that Dian Wei was able to pick up the dead bodies of enemies by their feet and swing them as a means of attack, before he was finally killed by raining arrows and piercing spears. At Dian Wei's funeral, Cao Cao wept and told his followers, "I don't feel very sad over the loss of my eldest son (Cao Ang) and my favourite nephew (Cao Anmin). I'm only mourning Dian Wei!"

In popular culture
Dian Wei appears as a character in Koei's Dynasty Warriors, Warriors Orochi, and Romance of the Three Kingdoms video game series. He also appears in Chan Mou's manhua series The Ravages of Time, a retelling of the historical novel Romance of the Three Kingdoms.

Dian Wei appears alongside Xu Chu as a guardian spirit of General Cao Yanbing in the anime and drama series Rakshasa Street.

title: Dian Wei


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Fame (Irene Cara song)

"Fame" is a song written by Michael Gore (music) and Dean Pitchford (lyrics) and released in 1980, that achieved chart success as the theme song to the Fame film and TV series. The song was performed by Irene Cara, who played the role of Coco Hernandez in the original film. It was also her debut single as a recording artist. The song won the Academy Award for Best Original Song in 1980, and the Golden Globe Award the same year. In 2004, it finished at number 51 on AFI's 100 Years...100 Songs survey of top tunes in American cinema.

The song was used in episode 17, season 2 of Hart to Hart. A year before Fame. (1981)

History
Irene Cara played the role of Coco Hernandez in the movie Fame and sang the vocals for the theme song. The music for the song was by Michael Gore and the lyrics were by Dean Pitchford. The song earned Cara a Grammy nomination for Best Female Pop Vocal Performance. The movie became an "overnight sensation". The song won an Oscar for best film theme song in 1981. In July 1982, it was re-released on the back of the successful TV series and topped the charts in several countries, including the Netherlands, New Zealand and the United Kingdom.

Fame theme song
The song was later used as the theme song for the Fame television series, which aired from 1982 to 1987. For seasons 1-4, the song was performed by Erica Gimpel who plays Cara's character, Coco on the show. For seasons 5-6, it was performed by Loretta Chandler. The song was also used in other TV shows related to Fame.

Personnel

 * Irene Cara – lead vocals, backing vocals
 * Rob Mounsey – keyboards, piano
 * Leon Pendarvis – keyboards, arrangements
 * Kenneth Bichel – synthesizer
 * Neil Jason – bass guitar
 * Elliott Randall – guitar solo
 * David Spinozza, Jeff Mironov – guitar
 * Yogi Horton – drums
 * Jimmy Maelen, Crusher Bennet – percussion
 * Louise Bethune, Peggie Blue, Ivonne Lewis, Ullanda McCullough, Deborah McDuffie, Vicki Sue Robinson, Ann E. Sutton, Luther Vandross – backing vocals

Music Video
The original promotional music video was the scene from the film. Cara had only a very short part in that scene.

To promote the re-release of the single Cara appeared in a new video shot in mid-June 1982 in New York City, mainly on and around Broadway and including Cara sitting on one of New York's Yellow Cabs and dancing at the entrance to the School Of Performing Arts.

Charts
"Fame" rose to number four on the Billboard Hot 100 in September 1980. It also reached number one on the Billboard dance chart for one week. The song was re-released in the United Kingdom in July 1982, where it peaked at the top of the UK Singles Chart for three weeks following the debut of the Fame TV series on the British television network BBC One the previous month, becoming Britain's third best-selling song of 1982 behind "Eye of the Tiger" by Survivor and "Come On Eileen" by Dexys Midnight Runners and the Emerald Express, the latter of which dethroned "Fame" from the top of the UK Singles Chart. It has over sold 1.07 million copies in Britain. . The song also reached number one in Flanders (Belgium), Ireland, the Netherlands and New Zealand, and number three in Australia and Sweden.

Usage in Trolls: Band Together
A variation of the song has recently been used in the third installment of the Dreamworks Animation's Trolls franchise, Trolls Band Together (2023). Towards the climax, said variation is sung by antagonists Velvet and Vaneer while Branch attempts to saves his brothers, or other members of Brozone, from having their singing talent drained from their bodies by them.

title: Fame (Irene Cara song)


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Sargo-class submarine

The Sargo-class submarines were among the first United States submarines to be sent into action after the Japanese attack on Pearl Harbor, starting war patrols the day after the attack, having been deployed to the Philippines in late 1941. Similar to the previous Salmon-class submarine, they were built between 1937 and 1939. With a top speed of 21 knots, a range of 11000 nmi (allowing patrols in Japanese home waters), and a reliable propulsion plant, along with the Salmons they were an important step in the development of a true fleet submarine. In some references, the Salmons and Sargos are called the "New S Class", 1st and 2nd Groups.

The Sargo-class submarine USS Swordfish (SS-193) had the distinction of being the first US Navy submarine to sink a Japanese ship in World War II.

Design
In most features the Sargos were a repeat of the Salmons, except for the return to full diesel-electric drive for the last four boats and the adoption of the improved Sargo battery design. The first six Sargos were driven by a composite direct-drive and diesel-electric plant (two engines in each mode) in the same manner as the Salmons. In this arrangement, two main engines in the forward engine room drove generators. In the after engine room, two side-by-side engines were clutched to reduction gears which sat forward of the engines, with vibration-isolating hydraulic clutches. Two high-speed electric motors, driven by the generating engines or batteries, were also connected to each reduction gear. The Bureau of Steam Engineering (BuEng) and the General Board desired a full diesel-electric plant, but there were some dissenting opinions, notably Admiral Thomas C. Hart, the only experienced submariner on the General Board, who pointed out that a full diesel-electric system could be disabled by flooding. Technical problems went against the use of two large direct-drive diesels in place of the four-engine composite plant. No engine of suitable power to reach the desired 21-knot speed existed in the US, and the current vibration-isolating hydraulic clutches were not capable of transmitting enough power. It was also not practical to gear two engines to each shaft. So a full diesel-electric plant was adopted for the last four Sargos, and remained standard for all subsequent conventionally-powered US submarines.

Four of the class (Sargo, Saury, Spearfish, and Seadragon) were equipped with the troublesome Hooven-Owens-Rentschler (HOR) double-acting diesels. An attempt to produce more power from a smaller engine than other contemporary designs, the double-acting system proved unreliable in service. During World War II, all had their engines replaced with GM Cleveland Diesel 16-278A engines, probably during their overhauls in early 1943.

BuEng had designed a new lead-acid battery to resist battle damage, known as the Sargo battery because it was first installed on USS Sargo (SS-188) and was based on a suggestion by her commissioning commanding officer, Lieutenant E. E. Yeomans. Instead of a single hard rubber case, it had two concentric hard rubber cases with a layer of soft rubber between them. This was to prevent sulfuric acid leakage in the event one case cracked during depth-charging. This remained the standard battery design until replaced with Sargo II and GUPPY batteries in submarines upgraded under the Greater Underwater Propulsion Power Program after World War II. Each battery's capacity was slightly increased by installing 126 cells instead of 120; this also raised the nominal voltage from 250 volts to 270 volts, which has been standard in US usage ever since, including the backup batteries of nuclear submarines.

The original Mark 21 3-inch (76 mm)/50 caliber deck gun proved to be too light in service. It lacked sufficient punch to finish off crippled or small targets quickly enough to suit the crews. It was replaced by the Mark 9 4-inch (102 mm)/50 caliber gun in 1943-44, in most cases removed from an S-boat being transferred to training duty.

Service
From commissioning until late 1941 the first six Sargos were based first at San Diego, later at Pearl Harbor. The last four were sent to the Philippines shortly after commissioning. In October 1941, the remaining Sargos and most other newer available submarines were transferred to the Asiatic Fleet in the Philippines as part of a belated effort to reinforce U.S. and Allied forces in Southeast Asia. The Japanese occupation of southern Indo-China and the August 1941 American-British-Dutch retaliatory oil embargo had raised international tensions.

After the Japanese attack on Pearl Harbor on 7 December 1941, the submarines of the Asiatic Fleet were the primary striking force available to Admiral Thomas C. Hart, the fleet's commander. He was assigned sixteen Salmons or Sargos; the entirety of both classes. Seven Porpoise-class and six S-boats rounded out the force. The Japanese did not bomb the Philippines until 10 December 1941, so almost all of the submarines were able to get underway before an attack. Sealion and Seadragon were the unlucky exceptions. In overhaul at the Cavite Navy Yard, Sealion was damaged beyond repair and was scuttled on 25 December. Seadragon, assisted by USS Canopus (AS-9) and USS Pigeon (ASR-6), was able to leave port with emergency repairs and went on to fight for most of the war.

The Sargo class was very active during the war, sinking 73 ships, including a Japanese submarine. Four were lost, including one to "friendly fire".

USS Sailfish (SS-192) of this class sank the Japanese aircraft carrier Chūyō, which was carrying 21 survivors from the submarine USS Sculpin (SS-191); only one of these prisoners survived the sinking. Sculpin had been one of the ships assisting in the rescue of 33 men when USS Squalus (SS-192) sank during a test dive in 1939; Squalus was refloated and recommissioned as USS Sailfish (SS-192).

In early 1945 the surviving boats of this class were transferred to training roles for the remainder of the war, eventually being scrapped in 1947-48. USS Searaven (SS-196) was used in the Bikini Atoll atomic weapon tests in 1946. There was negligible damage so she was later expended as a target in 1948. Sailfish was also due to become a target in the same atomic weapon tests but she was scrapped instead in 1948.

title: Sargo-class submarine


text:
Talk:Sargo-class submarine

Was this a US submarine? Might be worth mentioning if so. Mark Richards 00:57, 7 May 2004 (UTC)

 * "United States" is only added to ship class article titles if another country has a class of the same name. RobDuch (talk) 05:19, 20 May 2016 (UTC)

title: Talk:Sargo-class submarine


text:
Nathan Cavaleri

Nathan Cavaleri (born 18 June 1982) is an Australian blues rock singer-songwriter and guitarist, and a former child actor. He issued two albums as a solo artist, Jammin' with the Cats (1993) and Nathan (1994). He has been a member of various groups including Dirty Skanks (2003–10), and Nat Col and the Kings (2010–2012). At the age of six Cavaleri was diagnosed with leukaemia and has been in remission since he was 13. As a child actor he appeared in the American film Camp Nowhere (1994) and starred in Paws (1997).

1982–1992: early years
Nathan Cavaleri was born on 18 June 1982 and grew up in Ruse, New South Wales. His father, Frank Cavaleri, was a bricklayer and part-time guitarist; his mother is Joanne, and the couple also have a younger son. Cavaleri began playing guitar at the age of five; he began by using a full-sized guitar with a shaved neck, which was done to accommodate his smaller hands.

Cavaleri was diagnosed with leukaemia at age six; he continued playing guitar to take his mind off the disease. He received chemotherapy treatment and, by May 1993, he was in remission. He asked the Australian branch of Starlight Children's Foundation, a charity organisation, to fulfil his wish – at the age of nine he played with Mark Knopfler; he described Cavaleri's playing as "unbelievable". Knopfler also donated a gold plaque awarded to his group, Dire Straits, for their album Brothers in Arms (1985).

Regarded as a child prodigy, Cavaleri was later trained by, and at age thirteen, eventually toured with, B.B. King. King described Cavaleri as "the future of the blues". In May 1992 Cavaleri released his debut single, "Little Egypt", which was a cover version of Elvis Presley's track from 1964, and peaked at No. 63 in Australia. Its B-side, "Nat's Blues", was co-written by Cavaleri with his father, Frank.

1993–1995: Jammin' with the Cats & Nathan
On 12 April 1993 he issued his debut album, Jammin' with the Cats, on Little Rock/Mushroom Records, which was produced by "Buzz" Bidstrup (Riptides, GANGgajang, The Sunnyboys). Bevan Hannan of The Canberra Times described Cavaleri as a "super guitar technician" and felt the album "range[s] from shuffle, blues and jazz to out and out rock. It is the type of music you would expect to hear on a tonight chat show." For the album he worked with Jimmy Barnes, Diesel and Tommy Emmanuel. It peaked at No. 33 on the ARIA Albums Chart.

In September 1993 Cavaleri and Barnes released a cover version of the La De Da's' single, "Gonna See My Baby Tonight", from November 1971. Fifty thousand promotional copies were included as give-aways in Uncle Tobys breakfast cereal boxes. Barnes provided lead vocals, rhythm guitar and produced the track, Bidstrup was on drums, Michael Hegerty on bass guitar and Jeff Neill on rhythm guitar and backing vocals.

For his second album, Nathan (1994), he used Teddy Andreadis on keyboards, Curt Bisquera on drums, Jeff Berlin on bass guitar, Randy Jacobs on guitar and Sweet Pea Atkinson and Andrew Strong. AllMusic's Erik Crawford noted that "he delivers jaw-dropping solos on track after track" as he "offers up an earthy blues effort that fits nicely alongside other teen blues sensations." The album provided two singles, "Workin' on It" (September 1994, No. 55 in Australia ) and "(If Loving You Is Wrong) I Don't Want to Be Right" (March 1995). For its United States release, Cavaleri signed with Epic Records and Michael Jackson's label, MJJ Music.

He has played with Robben Ford, and Aaron Neville, An instrumental version of his song "Lou's Blues" is featured in the film Free Willy 2: The Adventure Home, and he has served as a spokesman for Peavey Guitars.

1996–2002: hiatus
Cavaleri finished secondary school in the mid 1990s, paused his musical career and became a brickie's labourer.

On 18 October 2000 Cavaleri performed during the Opening Ceremony of the 11th Paralympic Games in Sydney.

Cavaleri reflected on his early career said in 2004, "When I was doing all of that stuff (it) doesn't even feel like it was my life ... It feels like a haze. It feels like a dream. It just feels like images in the head, almost like a western movie." "I just totally escaped music ... It can be a dark time when you’re finding yourself creatively."

2003–2012: Dirty Skanks & Nat Col and the Kings
In 2003 he formed a group, Dirty Skanks, with Col Hatchman on drums, then a member of The Screaming Jets. Dirty Skanks released the album Voluptuosity on Jaynie Records in 2004.

By 2010 Dirty Skanks was renamed as Nat Col and the Kings. Cavaleri writes and arranges his own material as the group tours, by 2012 the line-up included Toni Bird on backing vocals and Kenny Jewell on bass guitar. Nat Col and the Kings released three EPs in 2010, 2011, and 2012 on Jaynie Records.

2012–2018: health concerns
By 2012 Cavaleri started having health concerns and noticed he was getting panic attacks before gigs. Cavaleri got through a few more gigs but soon decided he didn't want to keep on touring. He suffered serious insomnia, anxiety and depression. Cavaleri met with doctors who suggested medication, but he instead adopted a more holistic approach; completing a mindfulness course, visiting a psychologist regularly, meeting a clinical nutritionist and exploring integrated medicine. He undertook activities away from music, like surfing and meditation.

At the start of 2016, Cavaleri quietly made his return to the stage for the first time in three and a half years, performing one song with Kenny Jewell at a local gig. This performance reignited Cavaleri's passion for music.

2018–2021: relaunch of career and Demons
2019 saw Nathan Cavaleri return to the stage after a 5-year struggle with anxiety/depression.

In October 2019, Cavaleri released the 4-track EP Demons. All four tracks were released as singles, with the single "29 Gold Stars" receiving rave reviews from triple j, double j, MusicFeeds and PileRats.

In 2020, three more singles were released, before a forthcoming studio album, also titled Demons, set for release on 6 August 2020.

2022–present: Miracles
In April 2023, Cavaleri announced the forthcoming release of his fourth studio album, Miracles. The album is scheduled for released on 16 June 2023.

Film

 * Camp Nowhere (1994) as Steve
 * Paws (1997) as Zac (final film role)

Television

 * Baywatch Nights (1995) as Willy Logan / Willy Simon

title: Nathan Cavaleri


text:
I'll Be There for You (The Rembrandts song)

"I'll Be There for You" is a song by American pop rock duo the Rembrandts. The song was written by David Crane, Marta Kauffman, Michael Skloff, and Allee Willis as the main theme song to the NBC sitcom Friends, which was broadcast from 1994 to 2004. American rock band R.E.M. was originally asked to allow their song "Shiny Happy People" to be used for the Friends theme, but they turned the opportunity down. "I'll Be There for You" was subsequently written and Warner Bros. Television selected the only available band on Warner Bros. Records to record it: the Rembrandts. In 1995, after a Nashville radio station brought the song to mainstream popularity, Rembrandts members Danny Wilde and Phil Sōlem expanded the theme song with two new verses and included this version on their third studio album, L.P. (1995).

The extended version of the song was serviced to US radio on May 23, 1995, and was issued in the United Kingdom on August 7, 1995, as the first single from L.P. Following the song's release, it reached the top 10 in Australia, New Zealand and Norway, as well as in Ireland and the United Kingdom in both 1995 and 1997. In Canada, the song reached number one for five weeks and was the most successful single of 1995, while in the United States, the song reached number 17 on the Billboard Hot 100 and topped the Billboard Hot 100 Airplay chart for eight weeks.

Background and release
The title theme used in the pilot for Friends was "Shiny Happy People" by American rock band R.E.M.. And Warner Bros. Television wanted either that song, or a song by R.E.M. frontman Michael Stipe as the theme for the show. When Stipe rejected the offer, the producers of the show instead wrote their own theme song and enlisted the Rembrandts, consisting of members Phil Sōlem and Danny Wilde, to record it. The music was composed by Marta Kauffman's husband, Michael Skloff. The Rembrandts did not want to record the song, but since they were the only available band on Warner Bros. Records, they relented to the company's demands. The original lyrics of "I'll Be There for You", a single verse as needed for the length of the series' opening credits, were co-written by Friends producers David Crane, and Kauffman along with songwriter Allee Willis. Skloff became inspired by hearing the Beatles song "Paperback Writer" on the radio while reading a show script and sought to capture a mid-1960s pop sound for the theme; though Michael Stipe speculates that the theme may have been written to emulate the sound of his band R.E.M. who were initially desired for the theme. The handclaps at the end of the first line of the song were a last-minute addition, with Sōlem admitting that it was a wise decision and naming it the best part of the track.

The original theme, which is under one minute long, was later re-recorded as a three-minute pop song. After a radio announcer in Nashville, Tennessee, looped the original short version into a full-length track and broadcast it, the song became so popular that the Rembrandts had to re-record it, as well as helping to write the second verse and bridge. Sōlem said, "Our record label said we had to finish the song and record it. There was no way to get out of it." The three-minute version of "I'll Be There for You" was serviced to American contemporary hit radio on May 23, 1995. In the United Kingdom, a CD single and cassette single were issued on August 7, 1995. On May 12, 1997, the CD and cassette were re-issued in the UK to commemorate the video release of the first season of Friends.

Composition
"I'll Be There for You" is an upbeat song about traveling, dead-end jobs, and friendship. It is written in the key of A major with a tempo of 96 beats per minute.

Critical reception
Mark Sutherland from NME wrote, "Another record that makes you want to be American. This time it's one of the boho twentysomethings who populate US sitcom Friends, to which this is the theme. And, as such, it's the aural equivalent of the programme: all snazzy handclaps, ever-so-slightly alternative guitars, "kooky" harmonies and lyrics that hint at existential angst but, fortunately, only the kind that can be sorted out in half an hour in front of a live studio audience. I'll be there for you, they swoon, When the rain starts to fall. What, in October?"

In 2009, the song was listed by Blender as one of the "50 Worst Songs Ever". Conversely, several magazines have listed the song as one of the best TV theme songs, including Paste, Complex, and Observer.

Chart performance
"I'll Be There for You" topped the US Billboard Hot 100 Airplay chart for eight weeks and also peaked atop the Billboard Adult Contemporary and Top 40/Mainstream charts. At the peak of its popularity, the song was not available as a commercial single, therefore becoming the first song to top the Hot 100 Airplay chart without appearing on the Hot 100. On the Billboard Hot 100, when it was later released commercially as a double A-side with "This House Is Not a Home", it reached number 17. In Canada, the song peaked at number one for five consecutive weeks and was the most successful single of 1995. In the United Kingdom, it reached number three on the UK Singles Chart, and it peaked at the same position on the Irish Singles Chart the same year. In Scotland, it topped the country's singles chart. The song sold 322,000 copies in the UK during 1995.

While the song did not immediately make a significant commercial impact in Australia, reaching number 86 in October 1995, it soon re-entered the ARIA Singles Chart in August 1996 and peaked at number three on the week of October 13, spending a total of 20 weeks in the top 50. In 1997, when re-released in Europe, the song reached the top 10 in Ireland and the United Kingdom once more, placing two positions shy of its number-three peak in both countries. This re-release also saw the song reach the top 40 in Flanders, France, the Netherlands, Norway, and Sweden. As of May 2021, "I'll Be There for You" has sold 925,000 copies and has been streamed 20.7 million times in the UK since streaming figures were introduced in 2014. According to the Official Charts Company, the song is streamed an average of 96,000 times a week.

Music video
The music video for "I'll Be There for You" features the band performing in a studio while the cast of Friends join in. Some scenes are shot in black-and-white. The Rembrandts members Phil Sōlem and Danny Wilde disclosed during a live interview on The Today Show on September 20, 2019, to celebrate the 25th anniversary of the song that the video was shot on the set of SNL (Studio 8H).

Track listings
Several formats of the single feature snippets of six tracks from L.P. These tracks are "Don't Hide Your Love", "End of the Beginning", "Lovin' Me Insane", "Drowning in Your Tears", "This House Is Not a Home", and "What Will It Take".

1995 release

 * US 7-inch vinyl and European CD single
 * 1) "I'll Be There for You (Theme from Friends)" – 3:09
 * 2) Album snippets – 6:42

Note: The cassette single was reissued in 1997
 * UK 7-inch and cassette single
 * 1) "I'll Be There for You (Theme from Friends)" – 3:09
 * 2) Fixin' to Blow – 5:03

1997 release

 * European and Australian CD single
 * 1) "I'll Be There for You (Theme from Friends)" – 3:09
 * 2) "Fixin' to Blow" – 5:03
 * 3) "Just the Way It Is, Baby" – 4:06
 * 4) Snippets medley – 6:46

Personnel
Personnel are lifted from the European CD single liner notes.
 * Marta Kauffman – lyrics, executive production
 * David Crane – lyrics, executive production
 * Michael Skloff – music, Hammond organ
 * Danny Wilde – lyrics, vocals, bass, acoustic guitar, percussion
 * Phil Sōlem – lyrics, vocals, electric guitar
 * Pat Mastelotto – drums
 * Gavin MacKillop – production
 * Kevin S. Bright – executive production

Cover versions

 * American pop rock band The Goo Goo Dolls recorded their own version of this song which contained slightly altered lyrics, and a more upbeat tempo, rockier sound, as well as a glockenspiel in the rhythm track.
 * American punk rock band Pink Lincolns covered this song under the title "Friends" for a 1997 compilation album titled Show & Tell.
 * Meghan Trainor covered the song on September 22, 2019, to celebrate the Friends 25th Anniversary at the Empire State Building light show.
 * Charlie Puth and The War and Treaty covered the song in a stripped-down acoustic version along with Puth's own "See You Again" at the 75th Primetime Emmy Awards, as a tribute to Matthew Perry and others during the In Memoriam segment.

In popular culture
On the 25th anniversary of the show, Jonas Brothers appeared in a music video of the theme song featuring Priyanka Chopra Jonas, Sophie Turner and Danielle Jonas.


text:
Talk:Dian Wei

Untitled
This article needs context: what country, what time period - is this a real person or a fable? DavidWBrooks 01:06, 7 May 2004 (UTC)

title: Talk:Dian Wei


text:
Boise metropolitan area

The Boise, Idaho Metropolitan Statistical Area (MSA) (commonly known as the Boise Metropolitan Area or the Treasure Valley) is an area that encompasses Ada, Boise, Canyon, Gem, and Owyhee counties in southwestern Idaho, anchored by the cities of Boise and Nampa. It is the main component of the wider Boise–Mountain Home–Ontario, ID–OR Combined Statistical Area, which adds Elmore and Payette counties in Idaho and Malheur County, Oregon. It is the state's largest officially designated metropolitan area and includes Idaho's three largest cities: Boise, Nampa, and Meridian. Nearly 40 percent of Idaho's total population lives in the area.

As of the 2021 estimate, the Boise–Nampa, Idaho Metropolitan Statistical Area (MSA) had a population of 795,268, while the larger Boise City–Mountain Home–Ontario, ID–OR Combined Statistical Area (CSA) had a population of 850,341. The metro area is currently the third largest in the U.S. section of the Pacific Northwest after Seattle and Portland, and is the 75th-largest metropolitan area in the United States.

Demographics
As of the 2010 census, there were 616,561 people, 170,291 households, and 120,118 families residing within the MSA. The racial makeup of the MSA was 89.80% White, 0.52% African American, 0.80% Native American, 1.38% Asian, 0.14% Pacific Islander, 5.02% from other races, and 2.35% from two or more races. Hispanic or Latino of any race were 8.96% of the population.

The median income for a household in the MSA was $36,695, and the median income for a family was $42,196. Males had a median income of $31,854 versus $23,244 for females. The per capita income for the MSA was $17,041.

Over 200,000 inhabitants

 * Boise (principal city)

50,001 to 200,000 inhabitants

 * Caldwell
 * Meridian
 * Nampa

10,001 to 50,000 inhabitants

 * Eagle
 * Kuna
 * Middleton
 * Mountain Home
 * Garden City
 * Star
 * Ontario, Oregon

5,001 to 10,000 inhabitants

 * Emmett
 * Fruitland
 * Payette

1,001 to 5,000 inhabitants

 * Hidden Springs
 * Homedale
 * Marsing
 * New Plymouth
 * Nyssa, Oregon
 * Parma
 * Wilder
 * Vale, Oregon

1,000 inhabitants or fewer

 * Adrian, Oregon
 * Crouch
 * Greenleaf
 * Horseshoe Bend
 * Idaho City
 * Jordan Valley, Oregon
 * Melba
 * Notus
 * Placerville

Unincorporated places

 * Annex, Oregon
 * Arock, Oregon
 * Banks
 * Basque, Oregon
 * Beulah, Oregon
 * Bowmont
 * Bruneau
 * Burns Junction, Oregon
 * Cairo, Oregon
 * Crowley, Oregon
 * Danner, Oregon
 * Garden Valley
 * Hamilton Corner
 * Harper, Oregon
 * Huston
 * Ironside, Oregon
 * Jamieson, Oregon
 * Jonesboro, Oregon
 * Juntura, Oregon
 * Letha
 * Lowman
 * McDermitt, Nevada-Oregon
 * Murphy
 * Ola
 * Owyhee, Oregon
 * Payette Junction, Oregon
 * Riddle
 * Riverside, Oregon
 * Rome, Oregon
 * Roswell
 * Sunnyslope
 * Sweet

Airports

 * Boise Airport
 * Nampa Municipal Airport
 * Caldwell Executive Airport
 * Mountain Home Municipal Airport

Interstates

 * I-84.svg Interstate 84
 * I-184.svg Interstate 184

U.S. highways

 * US 20.svg U.S. Route 20
 * US 26.svg U.S. Route 26
 * US 30.svg U.S. Route 30
 * US 95.svg U.S. Route 95

State highways

 * ID-16.svg State Highway 16
 * ID-19.svg State Highway 19
 * ID-21.svg State Highway 21
 * ID-44.svg State Highway 44
 * ID-45.svg State Highway 45
 * ID-51.svg State Highway 51
 * ID-52.svg State Highway 52
 * ID-55.svg State Highway 55
 * ID-67.svg State Highway 67
 * ID-69.svg State Highway 69
 * ID-72.svg State Highway 72
 * ID-78.svg State Highway 78
 * ID-167.svg State Highway 167
 * OR 52.svg Oregon Route 52
 * OR 78.svg Oregon Route 78
 * OR 201.svg Oregon Route 201
 * OR 451.svg Oregon Route 451
 * OR 452.svg Oregon Route 452
 * OR 453.svg Oregon Route 453
 * OR 454.svg Oregon Route 454

Mass transit

 * ValleyRide

Major universities

 * Boise State University (BSU), Boise, Idaho

Four-year colleges and universities

 * Northwest Nazarene University (NNU), Nampa, Idaho
 * The College of Idaho (C of I), Caldwell, Idaho
 * University of Idaho (U of I), Boise; Extension Campus
 * Idaho State University (ISU), Meridian, Idaho; Extension Campus

Community colleges and trade schools

 * College of Western Idaho, Nampa, Idaho (CWI) Nampa; Main Campus, Aspen Classroom Bldg., Canyon County Extension Boise; Ada County Campus
 * Treasure Valley Community College, Caldwell, Idaho (TVCC) Ontario, Oregon; Main Campus Caldwell, Idaho; Caldwell Campus
 * Northwest Lineman College (NLC), Kuna, Idaho
 * Heavy Equipment Operator School of Idaho, Boise
 * Stevens-Henager College, Boise, Idaho Nampa, Idaho
 * Carrington College, Boise
 * Broadview University, Meridian, Idaho
 * University of Phoenix Meridian; Main Campus
 * Boise Bible College, Boise

Major valley employers

 * Micron Technology Boise, Nampa
 * Saint Luke's Medical Centers Boise, Meridian, Eagle, Nampa
 * Saint Alphonsus Regional Medical Centers Boise, Nampa, Caldwell, Ontario
 * Simplot Boise, Caldwell
 * Hewlett-Packard Garden City / Boise
 * Blue Cross Blue Shield Association Meridian
 * Union Pacific Railroad Nampa
 * T-Mobile US Meridian
 * DirecTV Boise
 * Teleperformance Boise

title: Boise metropolitan area