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Meet the Parents

Meet the Parents is a 2000 American romantic comedy film written by Jim Herzfeld and John Hamburg and directed by Jay Roach. It chronicles a series of unfortunate events that befall a good-hearted but hapless nurse (Ben Stiller as Greg Focker) while visiting his girlfriend's parents (Robert De Niro and Blythe Danner as Jack and Dina Byrnes). In addition, Teri Polo stars as Pam Byrnes (Greg's girlfriend) while Owen Wilson stars as Kevin Rawley (Pam's ex-boyfriend).

The film is a remake of a 1992 film of the same name directed by Greg Glienna and produced by Jim Vincent. Glienna – who also played the original film's protagonist – and Mary Ruth Clarke cowrote the screenplay. Universal Pictures purchased the rights to Glienna's film with the intent of creating a new version. Jim Herzfeld expanded the original script but development was halted for some time. Jay Roach read the expanded script and expressed his desire to direct it but Universal declined him. At that time, Steven Spielberg was interested in doing so while Jim Carrey was interested in playing the lead role. The studio only offered the film to Roach once Spielberg and Carrey left the project.

Released in the United States and Canada on October 6, 2000 and distributed by Universal Pictures, the film earned back its initial budget of $55 million in only 11 days. It went on to become one of the highest-grossing films of 2000, earning over $165 million in North America and over $330 million worldwide. It was well received by film critics and viewers alike, winning several awards and earning additional nominations. Ben Stiller won two comedy awards for his performance and the film was chosen as the Favorite Comedy Motion Picture at the 2001 People's Choice Awards. The success of the film inspired two sequels, namely Meet the Fockers and Little Fockers released in 2004 and 2010, respectively. It also inspired a reality television show titled Meet My Folks and a sitcom titled In-Laws, both of which debuted on NBC in 2002.

Plot
Greg Focker, a Jewish American nurse living in Chicago, intends to propose to his girlfriend, Pam Byrnes. He chooses to get her father's blessing at her sister Debbie's wedding at their parents' house on Long Island, and plans to propose to her in front of her family. This plan is put on hold when the airline company loses his luggage, which contains the engagement ring.

At the Byrnes's, Greg meets Pam's father Jack, mother Dina, and beloved cat Jinx. Despite displaying a friendly demeanor towards Greg, Jack is immediately suspicious of him and is critical of his choice of career as a nurse. Greg gifts Jack an extremely rare flower, but he does not recognize it, although he's a 'retired florist'.

Greg becomes even more uncomfortable after he receives an impromptu lie detector test from Jack. Pam explains that Jack's profession as a florist is a cover, and he is actually a retired CIA operative who interrogated double agents.

Meeting the rest of Pam's family and friends, including Debbie's future in-laws, Greg still feels like an outsider. He also becomes insecure about his relationship with Pam when he learns she was previously engaged. Her ex-fiancé Kevin is amiable, handsome, wealthy, and still on friendly terms with her. He is also the Best Man in Debbie's wedding.

Despite efforts to impress her family, Greg's inadvertent actions make him an easy target for ridicule. Greg unintentionally gives Debbie a broken nose and a black eye during a pool volleyball game, floods the backyard with sewage, breaks an urn containing the ashes of Jack's mother, and sets the wedding altar on fire. Jack suspects Greg is a marijuana user after he endorses the marijuana interpretation of "Puff, the Magic Dragon". When Jack catches Pam's brother Denny with a marijuana pipe, Denny hastily claims he found it in Greg's luggage.

Greg loses Jinx, so temporarily replaces him with a near-identical stray, whose tail he spray-paints and who makes a mess of the house and destroys Debbie's wedding dress. Greg's deception is exposed when a neighbor finds the real Jinx, so the entire Byrnes family demand Greg leave Long Island.

Jack accuses Greg of lying about taking the Medical College Admission Test because his CIA contacts could not find any record of a Gregory Focker. Greg retaliates by revealing he has seen Jack engaging in secret meetings, receiving passports, and speaking in Thai. He deduces that Jack has taken on a new CIA mission, only for Jack to angrily reveal that he was arranging a surprise honeymoon in Thailand for Debbie and her fiancé Bob.

A devastated Greg drives to the airport to return to Chicago, but is detained by airport security for refusing to again check his suitcase, which is too large to be a carry-on. Back at the Byrnes's house, Pam shows her parents copies of Greg's MCAT transcript which his parents faxed her; the CIA found no record of Greg because his legal name is Gaylord, not Gregory.

Jack still believes that Greg is an unsuitable husband for Pam, but Dina lectures him over his consistent disapproval of any man Pam brings home. After hearing Pam make a heartfelt phone call to Greg, apologizing for not sticking up for him, Jack realizes she truly loves him.

Jack rushes to the airport and convinces security to release Greg. The two clear the air with each other, with Greg citing his fear of living up to Jack’s unattainable standards. After ensuring Greg’s loyalty and devotion to Pam, Jack finally accepts him, and asks him to be his son-in-law.

After returning to the Byrnes home, Greg proposes to Pam, as Jack and Dina listen in from their bedroom, agreeing that they should now meet Greg's parents. After Debbie's wedding, Jack views footage of Greg recorded by hidden cameras that he had placed around the house, in which Greg vents his frustrations with Jack, and also exposes Denny as a marijuana user.

Themes
Greg Focker is a middle-class Jewish nurse whose social and cultural position is juxtaposed against the Byrnes family of upper-middle class White Anglo-Saxon Protestants. With respect to Greg as a Jew and a nurse when compared to the Byrnes and Banks families, a distinct cultural gap is created and subsequently widened. The cultural differences are often highlighted, and Greg repeatedly made aware of them. This serves to achieve comedic effect through character development and has also been commented upon as being indicative of thematic portrayal of Jewish characters' roles in modern film as well as being a prime example of how male nurses are portrayed in media. Speaking about character development in Meet the Parents, director Jay Roach stated that he wanted an opportunity to "do character-driven comedy" and "to create realistic characters, but heighten the comedic situations and predicaments."

Vincent Brook observes mainstream Hollywood cinema's tendency since the 1990s of incorporating Jewish liminality and "popularizing the Jew." He explains the "manly Jewish triumph" of characters like Jeff Goldblum's David Levinson in Independence Day and labels it as a "certain answer to America's yearnings for a new Jewish hero." This stands in direct contrast to the schlemiel or "the Jewish fool" which was seen to have been revitalized in the mid-1990s after faltering since the 1960s. The schlemiel, Brook explains, is an anti-hero in whose humiliation the audience finds supreme pleasure. Within that context, Brook describes Greg Focker's character as "the quintessential example of the postmodern schlemiel." The repeated embarrassing encounters that Greg faces with his girlfriend's all-American family is compared to the example of Jason Biggs's character Jim Levenstein of the American Pie film series where Levenstein is often the comedic centerpiece due to his repeated sexual embarrassments.

Anne Bower writes about Jewish characters at mealtime as part of the broader movement she believes started in the 1960s where filmmakers started producing work that explored the "Jewish self-definition." She postulates that the dinner table becomes an arena where Jewish characters are often and most pointedly put into "conflicts with their ethnic and sexual selves." She describes the example of Greg sitting down for dinner with the Byrnes family and being asked to bless the food. In this scene, Greg attempts to recite a prayer by improvising and, in doing so, launches into a recital of the song "Day by Day" from Act I of Godspell. Bower notes this scene as "particularly important for establishing the cultural distance" between the Jewish Greg and the Christian Byrnes. She noted that the social gap is further widened next morning when Greg is the last person to arrive at the breakfast table; he shows up wearing pajamas while everyone else is fully clothed. Here Greg is shown eating a bagel, which Bower argues as being a clear signifier of Jewishness.

Based on common misconceptions and stereotypes about men in nursing, Greg's profession is repeatedly brought up by Jack in a negative context and the character of Greg Focker has come to be one of the best known film portrayals of a male nurse. Even though men dominated the profession in earlier times, there has been a feminization of the nursing profession over the course of the last century which has caused men in nursing to often be portrayed as misfits by the media. A common stereotype is that of a man who accepts a career in nursing as an unfortunate secondary career choice, either failing to become a physician or still trying to become one. Such stereotyping is due to a presumption that a man would prefer to be a physician but is unable to become one due to lack of intelligence or non-masculine attributes. Jack is often seen openly criticizing Greg's career choice per his perception of nursing being an effeminate profession. In their book Men in Nursing: History, Challenges, and Opportunities authors Chad O'Lynn and Russell Tranbarger present this as an example of a negative portrayal. Commenting on the same issue but disagreeing, Barbara Cherry in her book Contemporary Nursing: Issues, Trends, & Management called the portrayal of Greg as a nurse "one of the most positive film portrayals of men who are nurses" and commented that Greg "humorously addresses and rises above the worst of all stereotypes that are endured by men in this profession." Sandy and Harry Summers in the book Saving Lives: Why the Media's Portrayal of Nurses Puts Us All at Risk postulate that Greg's character, although intelligent and firm in his defense of his profession, "might have done more to rebut the stereotypes" while also reporting that "some men in nursing" expressed their opinions that it would have been better to not present the stereotypes at all.

Background
The film is a remake of a 1992 independent film of the same name. Greg Glienna and Mary Ruth Clarke wrote the original story and screenplay. Glienna also directed and starred in the 76-minute film which was filmed on 16 mm film in 1991 and released the following year. The 1992 film also marked one of only several film roles played by comedian Emo Philips which he also helped produce. Film producer Elliot Grove, founder of Raindance Film Festival and the British Independent Film Awards, listed the original Meet the Parents on his personal Top Ten list of favorite films where he called it "much funnier and tighter than the Hollywood version". The 1992 film was a featured entry in the 1995 Raindance Film Festival.

Producer Nancy Tenenbaum acquired the rights to the 1992 film. After she sent a copy of the original film to several people of interest, filmmaker Steven Soderbergh replied that he was interested and that he wanted to direct a remake. He brought it to the attention of Universal Studios who initially declined but subsequently optioned the rights to the film in 1995. Soderbergh took on the project but then dropped it when he got involved with Out of Sight.

Writing
Universal approached screenwriter Jim Herzfeld to expand the screenplay. Herzfeld expanded the modest script, completing the first draft as early as 1996. He initially presented it to Roach who had, up to that point, directed the first two Austin Powers films. Roach admits to have liked the script from the beginning and was very much willing to make the film even though he thought "it needed more work." Universal initially declined to have relatively inexperienced Roach take on the project. The studio was skeptical of Roach's ability to direct a "less-cartoony, character-driven script" compared to a comedy like Austin Powers. Universal's reluctance to give the project to Roach was also due to new interest from Steven Spielberg who wanted to direct and produce the film with Jim Carrey playing the role of Greg Focker. However, Spielberg and Carrey never took the project past the planning stages. The script was then returned to Roach who had by now taken on his next project of Mystery, Alaska but was still interested in making Meet the Parents.

The drafts of the script were written by Herzfeld and, once De Niro and Stiller were confirmed as stars, John Hamburg was brought on board "to help fit the script to their verbal styles." Due to changes in directorial and acting line-ups after the early drafts of the script were written, Hamburg kept adjusting and re-writing the script well after production had already begun.

Casting
Upon the suggestion of Universal Studios, Roach cast De Niro in the role of Jack Byrnes due to critical acclaim of his recent comedy work in films such as Analyze This and in the live-action/animated film The Adventures of Rocky and Bullwinkle. His character is Pam's father and a retired CIA operative who is overly protective of his family and has a hard time warming up to his daughters' love interests. The script was not written with De Niro in mind as Jack Byrnes; the first draft of the script was completed in 1996, three years before De Niro appeared in Analyze This. However, shortly after De Niro finished filming The Adventures of Rocky and Bullwinkle, Universal suggested to Roach that he should cast him for the role to which Roach agrees that he had "no reservations whatsoever." In an interview with Entertainment Weekly, De Niro stated that he was in active pursuit of comedic roles since Analyze This. Admitting that he had initial reservations about starring in the film, he said that he felt "pushed into it" due to insistence by Jane Rosenthal—De Niro's partner in TriBeCa Productions who also acted as one of the producers. Screenwriter Jim Herzfeld and director Jay Roach both confirmed that, after committing to the project and reviewing the script, De Niro was actually the person who came up with the idea for the famous polygraph test scene. Asked about working with him given the serious nature of his previous roles, Ben Stiller said that "it was a little bit intimidating working with De Niro" but that he "has a great sense of humor and I think that's the biggest surprise about him."

Explaining how Ben Stiller came to be cast in the role of Greg, Roach states: "I saw Meet the Parents as an anxiety dream, and in my view nobody plays that kind of material better than Ben." Additionally, Roach was impressed with Stiller's creative and ad lib abilities stating that "he has lots of great ideas and he's very skilled at loose improvisation." His character is a nurse who loves his girlfriend and tries desperately to impress her parents by any means which includes telling harmless little lies which are then covered up with bigger lies and elaborate cover-up schemes. The film's script was initially written with Jim Carrey in the role of Greg and contained much more physical comedy, something that Stiller did not think would be successful with himself playing the role. This resulted in deletion of some scenes but also in introduction of at least one unscripted scene that was completely improvised by Stiller. Roach cast Stiller only after it became clear that Carrey would not be taking on the role.

The consideration to play the character of Pam Byrnes, Greg's girlfriend who acts as a mediator between Greg and the Byrnes family, especially her father, Jack, was initially given to British actress Naomi Watts. She ultimately lost the role to Teri Polo because the filmmakers "didn't think [Watts] was sexy enough".

Other characters in the film were played by Blythe Danner (as Dina Byrnes, Jack's wife and Pam's mother), Owen Wilson (as Kevin Rawley, Pam's ex-fiancée), Nicole DeHuff (as Debbie Byrnes, Pam's sister), Jon Abrahams (as Denny Byrnes, the youngest child of Jack and Dina Byrnes), Thomas McCarthy (as Bob Banks, Debbie's fiancé), and James Rebhorn (as Larry Banks, Bob Banks' father and a close friend of Jack's). Phyllis George, who is a former Miss Texas and Miss America pageant winner and has appeared on numerous television programs as a guest and a host, made her acting debut as Linda Banks, Larry's wife and Bob's mother.

The role of Jinx the cat was played by two five-year-old Himalayan cats named Bailey and Misha (sometimes written as Meesha ), though according to trainer Dawn Barkan, "about 85%" of Jinx's scenes were done by Misha. The American Humane Association oversaw the filming of all scenes where the cats were used and ensured the animals' obedience and well-being by keeping two trainers and a veterinarian on set at all times.

Rating
Greg Glienna did not come up with the surname Focker; Greg's character in the original film did not have a last name. The name was written into the script after Jim Carrey came up with the idea for the Focker surname during a creative session held before he abandoned the project. Once Meet the Parents was submitted for rating evaluation, the Motion Picture Association of America (MPAA) questioned the surname Focker as possibly an expletive and, due to the repetitiveness of the surname throughout the film, it was in danger of being rated R according to the Motion Picture Association of America film rating system. The filmmakers were asked if they had made up the name or if they can prove that such a name exists. The studio submitted to the MPAA a list of real people with the surname Focker which ensured that the film retained a PG-13 rating.

Theatrical run
Meet the Parents had its theatrical release in the United States and Canada on October 6, 2000. Distributed domestically by Universal Studios, it had an advertising budget of $33.9 million. It quickly proved to be a financial success, taking in $28.6 million during its opening weekend and averaging $10,950 per theater in a total of 2,614 theaters. It finished as the top-grossing film for the weekend of October 6–8, beating the second-placed Remember the Titans by a margin of over $9 million and bringing in more than four times the gross of Get Carter, the next highest-grossing film released that weekend. Its opening-weekend gross was the highest ever for any film released in the month of October, surpassing Antz, as well as marking the highest opening weekend gross for a film starring Robert De Niro and Ben Stiller, beating Analyze This and The Cable Guy. The film's October opening weekend record was later surpassed by Red Dragon in 2002. Its gross for the second week of release dropped by 26% down to $21.1 million, which still kept it at number one at the US box office beating Remember the Titans by a margin of over $8 million. By the end of the second week of release, it had already grossed over $58 million, surpassing its production budget of $55 million. It spent its first four weeks of theatrical release as the highest-grossing film at the U.S. box office, making it the first film to do so since The Sixth Sense in 1999. It was displaced from number one during the weekend of November 3–5 by the newly released Charlie's Angels while still managing to stay ahead of The Legend of Bagger Vance, another new release that debuted at number three. It remained in the top 10 grossing films until its eleventh week.

The film started its international release, distributed by United International Pictures (UIP), on December 8, 2000 in Austria, Germany, Sweden and Switzerland. In Germany, it was the number one film in its opening weekend with a four-day gross of $2.5 million from 356 screens. Its opening weekend screen average of $7,064 was the third-highest of 2000 in the country, behind Mission: Impossible 2 and American Pie.

In the United Kingdom, it was released a week later on December 15, 2000. There, it managed to earn over $21 million during its run. In Australia, it was released on December 26, 2000, where it grossed over $11 million during the theatrical run.

Meet the Parents grossed $166.2 million in the United States and Canada and a total of $330.4 million worldwide, making it the seventh-highest-grossing film of the year both in the United States and Canada and worldwide.

Home media
The film was released on VHS and DVD on March 6, 2001. The DVD sales for it were successful, taking in over $200 million for 2001. Billboard magazine listed it as having the highest video sales for all weeks from March 31 up to and including April 21,  being the top-selling DVD for the weeks of March 24 and March 31, and being the top-rented video for the weeks of April 7 and April 14. Within its first week of release, it made $4.3 million in DVD rentals, beating the previous record held by What Lies Beneath. Making $21.4 million, the film had the second-highest home video rentals at the time, after The Sixth Sense.

The DVD release provides only the letterbox format of the film and is also 108 minutes in length. The aspect ratio is 1.85:1 with an accommodation for an enhanced 16:9 playback. English-language audio tracks available with the film are a 5.1 Dolby Digital and DTS with the main noticeable difference being only a slightly louder bass on one of the tracks. A French-language audio track is also available only in 5.1 Dolby Digital Format. Additionally, English language subtitles are provided as well.

The single-disc "Collector's Edition" contains two audio commentaries, one a light-hearted and humorous discussion between Roach, Stiller, De Niro, and producer Jane Rosenthal and the other a more formal technical commentary on the film-making aspects by the director and editor Jon Poll. The director discusses issues that include working with the cast, utilizing the best camera angles for comedic effect, discussing scenes that were improvised and scenes that were scripted, and commenting on issues surrounding shooting on location. The editor speaks about putting together the best functioning comedy from material that was filmed and discusses some deleted scenes that were excluded from the DVD release. In addition, the DVD features a twelve-minute outtake section, three minutes of deleted scenes, and Universal's Spotlight on Location featurette. Spotlight on Location is a standard 24-minute-long featurette about the making of the film which includes interviews with the cast members and contains behind-the-scenes footage. It also contains two games called Take The Lie Detector Test and The Forecaster Game as well as PC material such as wallpapers and screensavers. There are also trailers for The Mummy Returns and Captain Corelli's Mandolin. The region 2 edition of the DVD was released on October 22, 2001. A region 1 "Bonus Edition" was released on December 14, 2004, in both Widescreen (1.85:1) & Full Screen (1.33:1) formats. Both versions contain three additional featurettes: Silly Cat Tricks, The Truth About Lying and a 12-minute-long Jay Roach: A Director's Profile.

Soundtrack
The original motion picture soundtrack for the film was released on September 26, 2000 on the DreamWorks Records record label. The soundtrack features 14 original compositions by Randy Newman as well as additional tracks by Bobby Womack, Lee Dorsey, and Dr. John and a hidden bonus track. Newman's original song "A Fool in Love" was nominated for an Academy Award for Best Original Song—Newman's 14th Oscar nomination —at the 73rd Academy Awards but it ultimately lost to Bob Dylan's "Things Have Changed" for Wonder Boys. For the same song, Newman also won the 16th Annual ASCAP Film & Television Music Award in the Top Box Office Films category and was nominated at the 5th Golden Satellite Awards in the Original Song category. Dan Goldwasser, in his review of the soundtrack for Soundtrack.Net, gave credit to Newman and the soundtrack for doing "an excellent job keeping the humor level high."

Critical reception
Meet the Parents received a generally positive response from film critics, being commended on the subtlety of its humor   as well as being named as "the funniest" or "one of the funniest"  films of the year by several critics. Audiences polled by CinemaScore gave the film an average rating of "A−" on an A+ to F scale.

Kenneth Turan, film critic for Los Angeles Times, called it "the funniest film of the year so far, possibly the most amusing mainstream live-action comedy since There's Something About Mary." Critic Joe Morgenstern of The Wall Street Journal stated that the film "does almost everything right with a story about everything going wrong" and that it "works up a major comic delirium on the theme of Murphy's Law", concluding that "Meet the Parents is the funniest movie of the year." CNN's Paul Clinton proclaimed "Meet the Parents is one of the best comedies of this—or any other—year", calling it "wonderfully funny" and expressing his hope that "the Academy will also recognize this wonderful movie, something it rarely does when it comes to comedies." Time magazine's film critic Richard Schickel stated that it was "divinely invented and perfectly orchestrated". He complimented the screenplay by calling the screenwriters Jim Herzfeld and John Hamburg "a couple of skilled tool-and-die makers" as well as the cast because he believed that they "understand that palpable reality will always trump frenzied fantasy when it comes to getting laughs." Schickel concluded his review by proclaiming Meet the Parents a "superbly antic movie". Todd McCarthy of Variety magazine called the film "flat-out hilarious" and Neil Smith of BBC proclaimed that "there's not a weak scene in this super-funny picture" while awarding it a rating of five stars out of five. Film critic Roger Ebert of the Chicago Sun-Times gave it three stars out of four comparing it to Roach's previous work on the Austin Powers film series and offering his opinion that "[Meet the Parents] is funnier because it never tries too hard." Critic Christopher Null of AMC's Filmcritic.com claimed that "Meet the Parents is one of the funniest comedies I've seen since Annie Hall". Lisa Schwarzbaum from Entertainment Weekly called the script "unforced" and concluded that it "goes down like a flute of Champagne, leaving an aftertaste of giggles."

However, Internet film critic James Berardinelli, in spite of awarding it two-and-a-half stars out of four, gave the film a somewhat scathing review. On his website, Berardinelli wrote that "Meet the Parents is put together like a TV sit-com," that Roach "strings together a series of hit-and-miss lowbrow gags with little care for whether any of the connecting material is coherent, interesting, or enjoyable (in most cases, it's none of those three)" and concluding that "even with Stiller and De Niro, Meet the Parents is an encounter that can be postponed until it's available on video." Jeff Vice of the Deseret News, another detractor of the film, proclaimed Meet the Parents "only erratically funny" and accused Roach of taking "the cheap way out with a series of unfunny jokes." Critic Peter Bradshaw's review of it in The Guardian concludes that "It is somehow less than the sum of its parts. It strains to come to life, but never quite makes it." After it was released on home media, DVD reviewer and Rolling Stone magazine contributor Douglas Pratt in his book Doug Pratt's DVD: Movies, Television, Music, Art, Adult, and More! stated that "perhaps in the crowded theater the film is hysterical, but in the quieter venue of home video, it just seems sadistic, and as the humor evaporates, the holes in the plot become clearer."

Others
The film is recognized by American Film Institute in these lists:
 * 2005: AFI's 100 Years ... 100 Movie Quotes:
 * Jack Byrnes: "I have nipples, Greg. Could you milk me?" – Nominated

Influence
The success of the film was initially responsible for a 2002 NBC reality television show entitled Meet My Folks in which a young woman's love interest, vying for her family's approval, is interrogated by the woman's overprotective father with the help of a lie detector machine. In September 2002, NBC also aired a situation comedy entitled In-Laws. During the development of it, NBC called it "a Meet the Parents project" which prompted an investigation by Universal into whether NBC was infringing on Universal's copyright. Universal did not pursue any action against NBC but neither show lasted more than one season. NBC and Universal would merge in 2004.

In 2004, Meet the Fockers was released as a sequel to the film. Directed again by Jay Roach with a screenplay by Jim Herzfeld and John Hamburg, it chronicles the events that take place when the Byrnes family meets Bernie and Roz Focker, Greg's parents, played by Dustin Hoffman and Barbra Streisand. The producers intended for them to be the opposite of the Byrneses' conservative, upper class, WASPy demeanor; to that effect, producer Jane Rosenthal explains that "Dustin Hoffman and Barbra Streisand were our dream team." The sequel proved to be another financial success grossing $280 million domestically and $516 million worldwide, outperforming Meet the Parents by a large margin and finishing as the fourth-highest-grossing film of 2004.

In February 2007, Universal Studios announced that they would be making a second sequel in the franchise, titled Little Fockers. It was to be directed by Roach with the screenplay written by Larry Stuckey, Roach's former assistant. The sequel brings back De Niro, Stiller, Polo, Danner, Hoffman, and Streisand. Roach was later replaced as director of the third film by Paul Weitz. Little Fockers was released in 2010 and grossed $148.4 million domestically and $310.7 million worldwide.

On July 18, 2005, a regularly scheduled American Airlines flight from Fort Lauderdale–Hollywood International Airport to San Juan, Puerto Rico, had to be diverted back to Fort Lauderdale shortly after take-off due to a bomb threat. The pilot turned the plane around approximately 40 minutes into the flight after a flight attendant found a crumpled napkin that read "Bomb, bomb, bomb...meet the parents," a clear reference to the scene in which Greg repeatedly shouts the word "bomb" while being detained by airport security. The plane was met by a bomb squad of the local sheriff's office as well as the FBI whose agents questioned its 176 passengers about the note.

title: Meet the Parents


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User talk:Jonah the Whale

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Hello, I'm Rubbish computer. An edit you recently made to Netherlands national rugby union team seemed to be a test and has been removed. If you want more practice editing, the sandbox is the best place to do so. If you think I made a mistake, or if you have any questions, you can leave me a message on my talk page. Thank you. Rubbish computer (Talk: Contribs) 02:15, 26 January 2019 (UTC)

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title: User talk:Jonah the Whale


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Category:Philately

Philately is the study of postage stamps and postal history in all its aspects.

title: Category:Philately


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Noncrossing partition

In combinatorial mathematics, the topic of noncrossing partitions has assumed some importance because of (among other things) its application to the theory of free probability. The number of noncrossing partitions of a set of n elements is the nth Catalan number. The number of noncrossing partitions of an n-element set with k blocks is found in the Narayana number triangle.

Definition
A partition of a set S is a set of non-empty, pairwise disjoint subsets of S, called "parts" or "blocks", whose union is all of S. Consider a finite set that is linearly ordered, or (equivalently, for purposes of this definition) arranged in a cyclic order like the vertices of a regular n-gon. No generality is lost by taking this set to be S = { 1, ..., n }. A noncrossing partition of S is a partition in which no two blocks "cross" each other, i.e., if a and b belong to one block and x and y to another, they are not arranged in the order a x b y. If one draws an arch based at a and b, and another arch based at x and y, then the two arches cross each other if the order is a x b y but not if it is a x y b or a b x y. In the latter two orders the partition { { a, b }, { x, y } } is noncrossing.

Equivalently, if we label the vertices of a regular n-gon with the numbers 1 through n, the convex hulls of different blocks of the partition are disjoint from each other, i.e., they also do not "cross" each other. The set of all non-crossing partitions of S is denoted $$\text{NC}(S)$$. There is an obvious order isomorphism between $$\text{NC}(S_1)$$ and $$\text{NC}(S_2)$$ for two finite sets $$ S_1,S_2$$ with the same size. That is, $$\text{NC}(S)$$ depends essentially only on the size of $$ S$$ and we denote by $$\text{NC}(n)$$ the non-crossing partitions on any set of size n.

Lattice structure
Like the set of all partitions of the set { 1, ..., n }, the set of all noncrossing partitions is a lattice when partially ordered by saying that a finer partition is "less than" a coarser partition. However, although it is a subset of the lattice of all set partitions, it is not a sublattice, because the subset is not closed under the join operation in the larger lattice. In other words, the finest partition that is coarser than both of two noncrossing partitions is not always the finest noncrossing partition that is coarser than both of them.

Unlike the lattice of all partitions of the set, the lattice of all noncrossing partitions is self-dual, i.e., it is order-isomorphic to the lattice that results from inverting the partial order ("turning it upside-down"). This can be seen by observing that each noncrossing partition has a non-crossing complement. Indeed, every interval within this lattice is self-dual.

Role in free probability theory
The lattice of noncrossing partitions plays the same role in defining free cumulants in free probability theory that is played by the lattice of all partitions in defining joint cumulants in classical probability theory. To be more precise, let $$(\mathcal{A},\phi)$$ be a non-commutative probability space (See free probability for terminology.), $$a\in\mathcal{A}$$ a non-commutative random variable with free cumulants $$(k_n)_{n\in\mathbb{N}}$$. Then

 * $$\phi(a^n) = \sum_{\pi\in\text{NC}(n)} \prod_{j} k_j^{N_j(\pi)}$$

where $$N_j(\pi)$$ denotes the number of blocks of length $$ j$$ in the non-crossing partition $$\pi$$. That is, the moments of a non-commutative random variable can be expressed as a sum of free cumulants over the sum non-crossing partitions. This is the free analogue of the moment-cumulant formula in classical probability. See also Wigner semicircle distribution.

title: Noncrossing partition


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Category:Politics

Politics is the process and conduct of decision-making for groups. Although it is usually applied to governments, political behavior is also observed in corporations.

title: Category:Politics


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Category:Basketball

This category categorizes topics in Wikipedia relating to the sport of basketball.

title: Category:Basketball


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The Inner Light (Star Trek: The Next Generation)

"The Inner Light" is the 125th episode overall and the 25th and penultimate episode of the fifth season of the American science fiction television series Star Trek: The Next Generation. The episode was written by freelance writer Morgan Gendel based on his original pitch. It was partly inspired by the Beatles' song "The Inner Light", written by George Harrison and based on verses in the Tao Te Ching. Gendel is credited as writer of the story and co-writer of the teleplay with Peter Allan Fields. It was first broadcast on June 1, 1992.

Set in the 24th century, the series follows the adventures of the Starfleet crew of the Federation starship Enterprise-D. In this episode, Captain Jean-Luc Picard (Patrick Stewart) is struck unconscious by an energy beam from an alien probe. While minutes pass for the rest of the crew, the probe makes Picard experience 40 years of lifetime as Kamin, a humanoid scientist whose planet is threatened by the nova of its sun. The probe is later found to contain a flute, which Picard keeps as a memento for the remainder of the series and in Star Trek: Picard.

The episode is widely considered by critics and fans as one of the best episodes of the entire Star Trek franchise. In 1993, "The Inner Light" won the Hugo Award for Best Dramatic Presentation. The flute melody, featured prominently in the episode, was composed by Jay Chattaway and has since been re-arranged for a full orchestra. The episode has also been cited as a favorite by members of the show's cast and crew, and is a fan favorite, even resulting in a 2021 auction of the prop flute – once thought by Christie's auction house to be worth dollars – for US$190000 2021.

Plot
On stardate 45944.1, the Enterprise-D finishes a magnetic wave survey of the Parvenium system and finds an unknown probe. The device rapidly scans the ship and directs an energy beam at Captain Picard, who wakes up to find himself on Kataan, a non-Federation planet. A woman, Eline, tells Picard that he is Kamin, an iron weaver recovering from a fever, and that she is his wife. Picard speaks of his life on the Enterprise but Eline and their close friend Batai try to convince Picard that his memories were only feverish dreams and incorporate him into their society as Kamin. Picard begins living his life as Kamin in his village, Ressik, having children with Eline and learning to play the flute. Kamin spends much time outdoors and with his Dobsonian telescope studying nature. As years pass, he begins to notice that the drought is caused by increased radiation from the planet's sun. He sends reports to the planet's leaders, who seem to ignore his concerns.

On Enterprise, the crew continues attempts to revive Picard. They try to block the influence of the probe but Picard nearly dies, so they are forced to let it continue. They trace the rocket's trajectory to a system whose sun went nova 1,000 years before, rendering life extinct in the system.

Years pass and Kamin outlives Eline and Batai. Kamin and his daughter Meribor continue their study of the drought. They find that it is not temporary; the extinction of life on the planet is inevitable. Kamin confronts a government official who privately admits to him that they already know this but keep it secret to avoid panic. The official gravely points out to Kamin that they have only recently launched artificial satellites using primitive rockets: their race simply does not possess the technology to evacuate people before their planet is rendered uninhabitable.

One day, while playing with his grandson, Kamin is summoned by his adult children to watch the launch of a rocket, which everyone seems to know about except him. As he walks outside into the glaring nova light, Kamin sees Eline and Batai, as young as when he first saw them. They explain that he has already seen the rocket, just before he came there. Knowing that their planet was doomed, the planet's leaders placed memories of their society into a probe and launched it into space, in the hope that it would find someone who could tell others about their species. Picard realizes the context: "Oh, it's me, isn't it?", he says, "I'm the someone... I'm the one it finds", realizing that Kamin was the avatar they chose to represent their race.

Picard wakes up on the bridge of the Enterprise to discover that while he perceived many decades to have transpired, only 25 minutes have passed. The probe terminates and is brought aboard the Enterprise. Inside, the crew finds a small box. Riker gives the box to Picard, who opens it to find Kamin's flute. Picard, now adept at the instrument, plays a melody he learned during his life as Kamin.

Title
Morgan Gendel named the episode after "The Inner Light", a song written by George Harrison and released by the Beatles as the B-side of their 1968 single "Lady Madonna". The lyrics of Harrison's song were based on the 47th chapter of the Tao Te Ching, which reads:

"Without going outside his door, one understands (all that takes place) under the sky; without looking out from his window, one sees the Tao of Heaven. The farther that one goes out (from himself), the less he knows. Therefore the sages got their knowledge without travelling; gave their (right) names to things without seeing them; and accomplished their ends without any purpose of doing so."

According to Gendel, the song "captured the theme of the show: that Picard experienced a lifetime of memories all in his head."

Ressikan flute
The brass Ressikan flute resembles, and has a similar sound to, a penny whistle or a tin whistle. It is considered a lasting reminder of Picard's virtual life on the planet throughout the rest of the series. Picard's flute could occasionally be seen in its box sitting on his desk. It plays a role in the episode "Lessons" where Picard develops a romantic relationship with a stellar cartographer assigned to the Enterprise, Nella Daren, an accomplished pianist who encourages his musical side and with whom he performs a duet version of the "Inner Light" theme. Earlier in the sixth season, a scene shows Picard practicing Mozart on the flute in the beginning of "A Fistful of Datas". It later appears in a deleted scene from Star Trek Nemesis; Lieutenant Commander Data picks it up and examines it while discussing human life with Picard. The original placement of this scene was to have been immediately following the wedding ceremony shown early in the film. The most recent appearance of the flute is in Star Trek: Picard, in which Picard picks up and observes the item among his belongings at his château.

A simple recurring theme that Picard plays on the flute was later developed into a full orchestral suite for the 30th anniversary of Star Trek. Another tune heard on the flute in "The Inner Light" was incorporated into the opening theme of Star Trek: Picard.

From October 5–7, 2006, the Ressikan flute, in the simple storage box seen in the episode, was one of the items up for bid at Christie's official studio auction of Star Trek memorabilia. The prop flute, which cannot actually be played, was originally estimated to have a sale price of US$300, and was thought to be a possible item for "[f]ans with more modest budgets", though auction directors admitted that their estimates for many items did not "factor in that emotional fury generated around this kind of material". The estimate was later raised to $800–$1,200 on Christie's web site. In the days leading up to the auction, Denise Okuda, former Trek scenic artist and video supervisor, as well as co-writer of the auction catalog, said: "That's the item people say they really have to have, because it's so iconic to a much-beloved episode." The final bid for the flute at the auction was US$40,000. Including the additional 20% fee Christie's collected on all items from the winning bidder, the total price for the flute was US$48000 2006.

On June 29, 2021, the Ressikan flute and storage box, along with a script from the episode complete with costume continuity photos and handwritten notes, was auctioned during a Prop Store collectibles auction, with a pre-auction estimate of up to $70,000 ; the package sold for US$190000 2021.

Critical reception
The episode is the favorite episode of actor Patrick Stewart, who played Captain Jean-Luc Picard. Star Trek writer Susan Sackett notes that it is also her favorite episode even though it is not one she wrote.

In 2011, io9 ranked "The Inner Light" as the eighth best episode of all (then) six television series in the Star Trek franchise.

In 2015, The Hollywood Reporter noted this episode's presentation of Picard remembering his probe-life and quietly playing the Ressikan flute in his cabin, ranking it as the fifth "most stunning" moment of Star Trek: The Next Generation.

In 2016, marking the 50th anniversary of the first ever episode in the Star Trek franchise, "The Inner Light" received high recognition within the body of 101 episodes, over 5 seasons, of the then-aired first six television series in the franchise:
 * The Hollywood Reporter ranked it the fourth best Star Trek episode.
 * Empire ranked this the tenth best Star Trek episode.
 * Radio Times said that Picard playing the flute at the end of the episode, having experienced the loving family life of Kamin, showed how "[n]ever has the dutiful captain looked so lonely", ranking it the sixth greatest scene in Star Trek television history.

In 2017:
 * Variety listed it as the best episode of Star Trek: The Next Generation.
 * Nerdist ranked this the second best episode of Star Trek: The Next Generation.
 * Screen Rant rated it as the second most romantic episode of Star Trek, for the relationship between the Picard (as Kamin) and Eline characters.
 * Fatherly ranked this as one of the top 10 episodes of Star Trek for kids to watch.
 * Den of Geek ranked it as one of top 25 "must watch" episodes of Star Trek: The Next Generation.
 * Vulture listed this as one of the best episodes of Star Trek: The Next Generation.

In 2018:
 * Popular Mechanics listed it as one of the top 12 episodes for the Picard character, and also calls the climax "among the most stunning turns in any Star Trek script".
 * Syfy.com noted the flute solo, composed by Jay Chattaway, as one of the famous pieces of music from Star Trek.

In 2019:
 * Screen Rant ranked "The Inner Light" as one of the top ten important episodes to watch in preparation for the series Star Trek: Picard.
 * The Hollywood Reporter listed this among the 25 best episodes of Star Trek: The Next Generation.

In 2020:
 * CNET called the episode "great TV", "heartrending stuff" and "Trek at its finest".
 * The Digital Fix said this was the second-best episode of Star Trek:The Next Generation, calling it a "rich, powerful, piece of storytelling" and praising Patrick Stewart's acting as Picard contending with an experience outside his usual job of Starship captain.

In 2021, Robert Vaux, writing for CBR, highlighted this episode among a trio of season five episodes (along with "The Perfect Mate" and "Darmok") that Patrick Stewart shone in. He points out the episode is "widely cited as one of the best Trek episodes of any kind."

Awards and nominations
This episode won the 1993 Hugo Award for Best Dramatic Presentation. The award was given at the Worldcon in San Francisco. "The Inner Light" was the first television program to be so honored since the Star Trek original series episode "The City on the Edge of Forever" won in 1968. The other Hugo Award-winning Star Trek episodes are two different two-part episodes, The Original Series "The Menagerie" and The Next Generations series finale, "All Good Things...".

The episode was nominated at the 45th Primetime Emmy Awards for Outstanding Individual Achievement in Makeup for a Series, but lost to Star Trek: Deep Space Nine's "Captive Pursuit".

Media releases
A DVD release came as part of The Best of Star Trek: The Next Generation – Volume 2 on November 17, 2009, in the United States.


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Category:Social sciences

The social sciences are academic disciplines concerned with the study of the social life of human groups and individuals including anthropology, economics, geography, history, political science, psychology, social studies, and sociology. The social sciences consist of the scientific study of the human aspects of the world.

title: Category:Social sciences


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User talk:Now3d

Hello and welcome to Wikipedia!

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 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck! Jrdioko

P.S. One last helpful hint. To sign your posts like I did above (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).

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title: User talk:Now3d


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Incidental imaging finding

In medical or research imaging, an incidental imaging finding (also called an incidentaloma) is an unanticipated finding which is not related to the original diagnostic inquiry. As with other types of incidental medical findings, they may represent a diagnostic, ethical, and philosophical dilemma because their significance is unclear. While some coincidental findings may lead to beneficial diagnoses, others may lead to overdiagnosis that results in unnecessary testing and treatment, sometimes called the "cascade effect".

Incidental findings are common in imaging. For instance, around 1 in every 3 cardiac MRIs result in an incidental finding. Incidence is similar for chest CT scans (~30%).

As the use of medical imaging increases, the number of incidental findings also increases.

Adrenal
Incidental adrenal masses on imaging are common (0.6 to 1.3% of all abdominal CT). Differential diagnosis include adenoma, myelolipoma, cyst, lipoma, pheochromocytoma, adrenal cancer, metastatic cancer, hyperplasia, and tuberculosis. Some of these lesions are easily identified by radiographic appearance; however, it is often adenoma vs. cancer/metastasis that is most difficult to distinguish. Thus, clinical guidelines have been developed to aid in diagnosis and decision-making. Although adrenal incidentalomas are common, they are not commonly cancerous - less than 1% of all adrenal incidentalomas are malignant.

The first considerations are size and radiographic appearance of the mass. Suspicious adrenal masses or those ≥4 cm are recommended for complete removal by adrenalectomy. Masses <4 cm may also be recommended for removal if they are found to be hormonally active, but are otherwise recommended for observation. All adrenal masses should receive hormonal evaluation. Hormonal evaluation includes: On CT scan, benign adenomas typically are of low radiodensity (due to fat content). A radiodensity equal to or below 10 Hounsfield units (HU) is considered diagnostic of an adenoma. An adenoma also shows rapid radiocontrast washout (50% or more of the contrast medium washes out at 10 minutes). If the hormonal evaluation is negative and imaging suggests benign lesion, follow up may be considered. Imaging at 6, 12, and 24 months and repeat hormonal evaluation yearly for 4 years is often recommended, but there exists controversy about harm/benefit of such screening as there is a high subsequent false-positive rate (about 50:1) and overall low incidence of adrenal carcinoma.
 * 1-mg overnight dexamethasone suppression test
 * 24-hour urinary specimen for measurement of fractionated metanephrines and catecholamines
 * Blood plasma aldosterone concentration and plasma renin activity, if hypertension is present

Brain
Autopsy series have suggested that pituitary incidentalomas may be quite common. It has been estimated that perhaps 10% of the adult population may harbor such endocrinologically inert lesions. Most of these lesions, especially those which are small, will not grow. However, some form of long-term surveillance has been recommended based on the size and presentation of the lesion. With pituitary adenomas larger than 1 cm, a baseline pituitary hormonal function test should be done, including measurements of serum levels of TSH, prolactin, IGF-1 (as a test of growth hormone activity), adrenal function (i.e. 24 hour urine cortisol, dexamethasone suppression test), testosterone in men, and estradiol in amenorrheic women.

Thyroid and parathyroid
Incidental thyroid masses may be found in 9% of patients undergoing bilateral carotid duplex ultrasonography.

Some experts recommend that nodules > 1 cm (unless the TSH is suppressed) or those with ultrasonographic features of malignancy should be biopsied by fine needle aspiration. Computed tomography is inferior to ultrasound for evaluating thyroid nodules. Ultrasonographic markers of malignancy are:
 * solid hypoechoic appearance
 * irregular or blurred margins
 * intranodular vascular spots or pattern
 * microcalcifications

Incidental parathyroid masses may be found in 0.1% of patients undergoing bilateral carotid duplex ultrasonography.

The American College of Radiology recommends the following workup for thyroid nodules as incidental imaging findings on CT, MRI or PET-CT:

Pulmonary
Studies of whole body screening computed tomography find abnormalities in the lungs of 14% of patients. Clinical practice guidelines by the American College of Chest Physicians advise on the evaluation of the solitary pulmonary nodule.

Kidney
Most renal cell carcinomas are now found incidentally. Tumors less than 3 cm in diameter less frequently have aggressive histology.

A CT scan is the first choice modality for workup of solid masses in the kidneys. Nevertheless, hemorrhagic cysts can resemble renal cell carcinomas on CT, but they are easily distinguished with Doppler ultrasonography (Doppler US). In renal cell carcinomas, Doppler US often shows vessels with high velocities caused by neovascularization and arteriovenous shunting. Some renal cell carcinomas are hypovascular and not distinguishable with Doppler US. Therefore, renal tumors without a Doppler signal, which are not obvious simple cysts on US and CT, should be further investigated with contrast-enhanced ultrasound, as this is more sensitive than both Doppler US and CT for the detection of hypovascular tumors.

Spinal
The increasing use of MRI, often during diagnostic work-up for back or lower extremity pain, has led to a significant increase in the number of incidental findings that are most often clinically inconsequential. The most common include:
 * vertebral hemangioma
 * fibrolipoma (a lipoma with fibrous areas)
 * Tarlov cyst

Sometimes normally asymptomatic findings can present with symptoms and these cases when identified cannot then be considered as incidentalomas.

Criticism
The concept of the "incidentaloma" has been criticized, as such lesions do not have much in common other than the history of an incidental identification and the assumption that they are clinically inert. It has been proposed just to say that such lesions have been "incidentally found." The underlying pathology shows no unifying histological concept.

title: Incidental imaging finding


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Talk:Super Bowl XXXVIII halftime show controversy

Edits
I have made some WP:BOLD edits to condense this article. It included entirely too much detail. Some of the detail is just minutiae, some of it consists of excessive quotations, some of it consists of excessively lengthy quotations, and some of it is repetitive. All of these made the article dense and unreadable, in addition to having WP:UNDUE problems. I have attempted to fix it. SunCrow (talk) 12:12, 7 December 2019 (UTC)
 * I take it that you focused on this article after I mentioned it here. Anyway, yes, bloat in the article was brought up before: Talk:Super Bowl XXXVIII halftime show controversy/Archive 1.

 * As for your edits, WP:CITELEAD is clear that having citations in the lead is a case-by-case matter. I think that leads of controversial topics like this are better served with citations in the lead, but I can live without citations in this article's lead. This is not a small article, and it's important that the lead adequately summarizes it; so, with this edit, I restored a bit of material to the lead while tweaking it. As for this and this, no strong feeling about that Blender magazine content, but I think part of the reason the commentary was included is because Blender, unlike most other sources in the artcle, is a music magazine and gives reviews on music matters. Flyer22 Reborn (talk) 16:36, 8 December 2019 (UTC)

Image deletion proposals
There are discussion currently underway at Files for Discussion to purge notable award ceremony images from the project. Specifically: Comments encouraged. Feoffer (talk) 21:38, 2 April 2022 (UTC)
 * Will Smith slaps Chris Rock
 * Janet Jackson and Justing Timberlake's wardrobe malfunction
 * Kanye West grabs the mic at VMA 2009.

Problems with a quote
I found two problems with this quote:

"[The furor] is hypocritical, with everything you see on TV. There are more important thing to focus on than a woman's body part, which is a beautiful thing. There's war, famine, homelessness, AIDS. [...] They needed something to focus on instead of the war, and I was the perfect vehicle for that. [...] People are going to think what they want. It was an accident. It was not a stunt."

– Jackson questioning media's focus on the event.

I thought "Hey, shouldn't it be more important things?", so I checked the source and could not find the quote in the source. -abbedabbtalk 21:38, 9 April 2022 (UTC)

 * I did find the quote here, though: https://www.gawker.com/nipplegate-at-10-how-justin-won-superbowl-xxxviii-and-1511051968, but not sure if they got it from somewhere else. -abbedabbtalk 21:41, 9 April 2022 (UTC)


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Quaternionic representation

In mathematical field of representation theory, a quaternionic representation is a representation on a complex vector space V with an invariant quaternionic structure, i.e., an antilinear equivariant map

 * $$j\colon V\to V$$

which satisfies

 * $$j^2=-1.$$

Together with the imaginary unit i and the antilinear map k := ij, j equips V with the structure of a quaternionic vector space (i.e., V becomes a module over the division algebra of quaternions). From this point of view, quaternionic representation of a group G is a group homomorphism φ: G → GL(V, H), the group of invertible quaternion-linear transformations of V. In particular, a quaternionic matrix representation of g assigns a square matrix of quaternions ρ(g) to each element g of G such that ρ(e) is the identity matrix and

 * $$\rho(gh)=\rho(g)\rho(h)\text{ for all }g, h \in G.$$

Quaternionic representations of associative and Lie algebras can be defined in a similar way.

Properties and related concepts
If V is a unitary representation and the quaternionic structure j is a unitary operator, then V admits an invariant complex symplectic form ω, and hence is a symplectic representation. This always holds if V is a representation of a compact group (e.g. a finite group) and in this case quaternionic representations are also known as symplectic representations. Such representations, amongst irreducible representations, can be picked out by the Frobenius-Schur indicator.

Quaternionic representations are similar to real representations in that they are isomorphic to their complex conjugate representation. Here a real representation is taken to be a complex representation with an invariant real structure, i.e., an antilinear equivariant map

 * $$j\colon V\to V$$

which satisfies

 * $$j^2=+1.$$

A representation which is isomorphic to its complex conjugate, but which is not a real representation, is sometimes called a pseudoreal representation.

Real and pseudoreal representations of a group G can be understood by viewing them as representations of the real group algebra R[G]. Such a representation will be a direct sum of central simple R-algebras, which, by the Artin-Wedderburn theorem, must be matrix algebras over the real numbers or the quaternions. Thus a real or pseudoreal representation is a direct sum of irreducible real representations and irreducible quaternionic representations. It is real if no quaternionic representations occur in the decomposition.

Examples
A common example involves the quaternionic representation of rotations in three dimensions. Each (proper) rotation is represented by a quaternion with unit norm. There is an obvious one-dimensional quaternionic vector space, namely the space H of quaternions themselves under left multiplication. By restricting this to the unit quaternions, we obtain a quaternionic representation of the spinor group Spin(3).

This representation ρ: Spin(3) → GL(1,H) also happens to be a unitary quaternionic representation because

 * $$\rho(g)^\dagger \rho(g)=\mathbf{1}$$

for all g in Spin(3).

Another unitary example is the spin representation of Spin(5). An example of a non-unitary quaternionic representation would be the two dimensional irreducible representation of Spin(5,1).

More generally, the spin representations of Spin(d) are quaternionic when d equals 3 + 8k, 4 + 8k, and 5 + 8k dimensions, where k is an integer. In physics, one often encounters the spinors of Spin(d, 1). These representations have the same type of real or quaternionic structure as the spinors of Spin(d − 1).

Among the compact real forms of the simple Lie groups, irreducible quaternionic representations only exist for the Lie groups of type A4k+1, B4k+1, B4k+2, Ck, D4k+2, and E7.

title: Quaternionic representation


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Category:Cars

A car, also called a motor car or an automobile, is a four-wheeled wheeled vehicle that is self-propelled by its own engine. It has seats for the driver and almost without exception, for at least one passenger.

title: Category:Cars


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User:Goser

My name is Goran and I'm a student in Saarbrücken, Germany. I'm from Sofia, Bulgaria.

title: User:Goser


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Category:Radiology

Diagnostic radiology is a specialty of medicine that employs X-rays, and other modalities for diagnostic imaging. Not to be confused with Radiation therapy.

title: Category:Radiology


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Nessun dorma

"Nessun dorma" (English: "Let no one sleep") is an aria from the final act of Giacomo Puccini's opera Turandot (text by Giuseppe Adami and Renato Simoni) and one of the best-known tenor arias in all opera. It is sung by Calaf, il principe ignoto (the unknown prince), who falls in love at first sight with the beautiful but cold Princess Turandot. Any man who wishes to wed Turandot must first answer her three riddles; if he fails, he will be beheaded. In the aria, Calaf expresses his triumphant assurance that he will win the princess.

Although "Nessun dorma" had long been a staple of operatic recitals, Luciano Pavarotti popularised the piece beyond the opera world in the 1990s following his performance of it for the 1990 FIFA World Cup, which captivated a global audience. Both Pavarotti and Plácido Domingo released singles of the aria, with Pavarotti's reaching number 2 in the UK, and it appeared on the best-selling classical album of all time, The Three Tenors in Concert. The Three Tenors, which includes José Carreras, performed the aria at three subsequent FIFA World Cup Finals, in 1994 in Los Angeles, 1998 in Paris, and 2002 in Yokohama. Since 1990, many crossover artists have performed and recorded it. The aria has been sung often in films and on television.

Context and analysis
In the act before this aria, Calaf has correctly answered the three riddles put to all of Princess Turandot's prospective suitors. Nonetheless, she recoils at the thought of marriage to him. Calaf offers her another chance by challenging her to guess his name by dawn. As he kneels before her, the "Nessun dorma" theme makes a first appearance, to his words, "Il mio nome non sai!" (My name you do not know!). She can execute him if she correctly guesses his name; but if she does not, she must marry him. The cruel and emotionally cold princess then decrees that none of her subjects shall sleep that night until his name is discovered. If they fail, all will be killed.

As the final act opens, it is now night. Calaf is alone in the moonlit palace gardens. In the distance, he hears Turandot's heralds proclaiming her command. His aria begins with an echo of their cry and a reflection on Princess Turandot:

Tu pure, o Principessa, nella tua fredda stanza, guardi le stelle che tremano d'amore, e di speranza! Not even you, oh Princess, in your cold bedroom, watching the stars that tremble with love, and with hope! il nome mio nessun saprà! No, No! Sulla tua bocca, lo dirò quando la luce splenderà! no one will know my name! No, no! On your mouth, I will say it when the light shines! il silenzio che ti fa mia! the silence that makes you mine!
 * Nessun dorma! Nessun dorma!
 * style="padding-left:2em;"| None shall sleep! None shall sleep!
 * Ma il mio mistero è chiuso in me;
 * Ma il mio mistero è chiuso in me;
 * style="padding-left:2em;"| But my secret is hidden within me;
 * Ed il mio bacio scioglierà
 * Ed il mio bacio scioglierà
 * style="padding-left:2em;"| And my kiss will dissolve
 * }

Just before the climactic end of the aria, a chorus of women is heard singing in the distance:

E noi dovrem, ahimè, morir, morir! and we will have to, alas, die, die!
 * Il nome suo nessun saprà,
 * style="padding-left:3em;"| No one will know his name,
 * }

Calaf, now certain of victory, sings:

Tramontate, stelle! Tramontate, stelle! All'alba, vincerò! Vincerò! Vincerò! Fade, you stars! Fade, you stars! At dawn, I will win! I will win! I will win!
 * Dilegua, o notte!
 * style="padding-left:10em;"| Vanish, o night!
 * }

In typical performance style, the final "Vincerò!" features a sustained B$4$, followed by the final note, an A$4$ sustained even longer—although Puccini's score did not explicitly specify that either note be sustained. In the original score, the B is written as a sixteenth note while the A is written as a whole note. Both are high notes in the tenor range.

In Alfano's completion of act 3, the "Nessun dorma" theme makes a final triumphal appearance at the end of the opera. The theme also makes a concluding reappearance in Luciano Berio's later completion (this having been an expressed intention of Puccini), but in a more subdued orchestration.

Recordings
"Nessun dorma", sung by some of the most famous interpreters of Calaf, appears on the following compilation recordings (for full-length recordings of the opera, see Turandot discography):
 * The Very Best of Beniamino Gigli (EMI Classics)
 * The Very Best of Jussi Björling (EMI Classics)
 * Richard Tucker in Recital (Columbia Masterworks/Myto)
 * The Very Best of Franco Corelli (EMI Classics)
 * Pavarotti Forever (Decca)
 * The Essential Plácido Domingo (Deutsche Grammophon)

Luciano Pavarotti
"Nessun dorma" achieved pop status after Luciano Pavarotti's 1972 recording of it was used as the theme song of BBC television's coverage of the 1990 FIFA World Cup in Italy. It subsequently reached no. 2 on the UK Singles Chart. Although Pavarotti rarely sang the role of Calaf on stage, "Nessun dorma" became his signature aria and a sporting anthem in its own right, especially for football. Pavarotti notably sang the aria during the first Three Tenors concert on the eve of the 1990 FIFA World Cup Final in Rome. For an encore, he performed the aria again, taking turns with José Carreras and Plácido Domingo. The image of three tenors in full formal dress singing in a World Cup concert captivated the global audience. The album of the concert achieved triple platinum record status in the United States alone and went on to outsell all other classical recordings worldwide. The number became a regular feature of subsequent Three Tenors concerts, and they performed it at three subsequent FIFA World Cup Finals, in 1994 in Los Angeles, 1998 in Paris, and 2002 in Yokohama.

Pavarotti gave a rendition of "Nessun dorma" at his final performance, the finale of the 2006 Winter Olympics opening ceremony, although it was later revealed that he had lip-synched the specially pre-recorded performance (at the time of his Winter Olympics appearance, Pavarotti was physically incapable of performing, as he was suffering from pancreatic cancer, to which he succumbed the following year). His Decca recording of the aria was played at his funeral during the flypast by the Italian Air Force. In 2013, the track was certified gold by the Federation of the Italian Music Industry.

Crossover and adapted versions
"Nessun dorma" (often in adapted versions of the score) has been performed by many pop and crossover singers and instrumentalists.
 * The 1989 song "A Love So Beautiful", co-written by Roy Orbison and Jeff Lynne, borrows the aria's melody.
 * In what the National Academy of Recording Arts and Sciences called "the greatest last-second substitution act in Grammy history", Aretha Franklin sang a "soul-infused" version of the aria in place of Luciano Pavarotti when throat problems caused him to withdraw from the 1998 Grammy Awards show.
 * The 2002 album Warriors of the World by the band Manowar features a version of the aria.
 * In 2007, Chris Botti recorded a trumpet version of the aria for his album Italia.
 * Anohni, lead singer of Antony and the Johnsons, recorded the aria with the Orchestra Roma Sinfonietta as part of an advertising campaign for the Italian coffee company Lavazza in 2009.
 * Jeff Beck's 2010 album Emotion & Commotion includes an instrumental version of the aria where the guitar takes the place of the human voice to an orchestral accompaniment.
 * Nathan Pacheco sang the aria with the Tabernacle Choir during the Pioneer Day Concert at the LDS Conference Center on 19 July 2013.
 * Jennifer Hudson sang the aria with the New York Philharmonic at the WE LOVE NYC: The Homecoming Concert special event in Central Park on 21 August 2021.

In other media
"Nessun dorma" has been used in many films, often appearing at a central moment in the film—sometimes with the aria's moment of musical resolution aligned with the film's narrative climax, giving symbolic meaning to the aria's rich emotional impact.

Films in which the aria plays a significant role in the soundtrack include The Killing Fields, New York Stories, The Sea Inside, The Sum of All Fears, The Mirror Has Two Faces, Bend It Like Beckham, Chasing Liberty, No Reservations, Goon, The Upside, and Mission: Impossible – Rogue Nation (with the scene set within a performance of Turandot itself). It was also used in a climactic scene of the first season of Daredevil. It was sung by Pavarotti himself as part of his fictional role in the film Yes, Giorgio. "Nessun dorma" is also the title of a short film by Ken Russell included in the 1987 film Aria.

"Nessun dorma" has also accompanied climactic scenes in various television shows. For example, the piece is played at the conclusion of episode 4 of the Korean drama Vincenzo. The aria is seemingly being broadcast over the radio, and the episode ends dramatically with the titular character speaking the final words of the song as Pavarotti sings them, “Tramontate, stelle! All'alba vincerò! Vincerò! Vincerò!” Similarly, the aria was featured in the final episode of the first season of the 2015 Marvel Cinematic Universe TV series ''Daredevil.

"Nessun dorma" is also the title of a football podcast (hosted by The Guardian journalist Lee Calvert and featuring sports writers past and present) that celebrates 1980s and 1990s football.

title: Nessun dorma


text:
Talk:Quasi-satellite

picture
Sorry about the picture quality...if someone can find a better one please replace it.

 * Well, I don't think that it has a poor quality (it looks smooth and has nice colors) but it lacks a feature. The unique feature that quasi-satellites seem to orbit the earth isn't visible in it. I have taken a picture out of a Public Domain GIF-sequence from Jet Propulsion Laboratory in the german article Quasisatellit about the same topic and translated the labelling to german and changed the size of the bodies to make the clearly visible. This image also shows the quasi-satellite's orbit (of asteroid 2002 AA29 in the future) from earth's point of view in a very self explanatory manner, but of course the colors aren't looking that nice and is has only a poor resolution. Perhapes you want to adopt it (vectorizing it in Photoshop and changing the colors) and want to make a more fancy looking one? The image can be found directly at de:Bild:2002aa29-orbit-4.png and the original GIF-sequence on http://neo.jpl.nasa.gov/2002aa29/2002aa29f.gif on a nice web page with more animations: http://neo.jpl.nasa.gov/2002aa29.html . Arnomane (in german Wikipedia)

definition

 * A quasi-satellite is an object similar to a planet or satellite, but its orbit encompasses both its planet and the planet's star.

This is still confusing, because the orbits of true moons orbiting a planet also encompass the star simply by following the planet. Also "is an object similar to a planet or satellite" is not informative, because the definition of a quasi-satellite is all about its orbits (so I have removed at least this). Does anyone know a rigorous definition that lets you determine whether an object is a true or quasi satellite? Deuar 12:35, 15 June 2006 (UTC)

Difference between quasi-satellite, co-orbital moon, and object on horseshoe orbits
Could someone please explain what the difference is between quasi-satellite, co-orbital moon, and objects on horseshoe orbits? The text is not too clear. Aren't objects in horseshoe orbits about the Earth in a 1:1 mean motion resonanance, at least temporarily? I would like to categorize all these objects accordingly, but its not clear if the planetary community even has a clear definition of what these things are. —The preceding unsigned comment was added by Lunokhod (talk • contribs) 11:41, 24 January 2007 (UTC).

Pluto
Couldn't Pluto be a Quasi-satellite of Uranus? Their orbits do cross. —Preceding unsigned comment added by Greggydude (talk • contribs) 13:02, 12 July 2009 (UTC)
 * No, read the description of a quasi-satellite's orbit. It must be the same period as the planet, which is not true for Pluto. Uranus takes around 84 years to orbit the Sun once, but Pluto takes almost 250 years. 71.104.187.210 (talk) 09:25, 24 December 2011 (UTC)

broken link
Footnote 4 appears to be dead. A Russian-speaker could confirm that and possibly get more information; the link goes to what looks like a short error message in Russian. —Preceding unsigned comment added by 12.182.240.194 (talk) 14:26, 31 March 2010 (UTC)

Perspective from Planet
I was doing some modeling in Celestia with quasi-satellites and found that the view of the quasi-satellite from the planet is actually not "an oblong retrograde loop around the planet" (quoted from page). It does so relative to the central star, but relative to the background stars, a quasi-satellite appears to simply occilate back and forth within a fixed region of sky. Not sure if there's a reference somewhere, but it might be worth a look. 71.104.187.210 (talk) 09:25, 24 December 2011 (UTC)

Plutinos
From the definition given in the article I don't see why Arawn in particular rather than plutinos in general should be considered (accidental) quasi-satellites of Pluto. Am I missing something? Lavateraguy (talk) 16:34, 22 October 2017 (UTC)

title: Talk:Quasi-satellite


text:
Complex representation

In mathematics, a complex representation is a representation of a group (or that of Lie algebra) on a complex vector space. Sometimes (for example in physics), the term complex representation is reserved for a representation on a complex vector space that is neither real nor pseudoreal (quaternionic). In other words, the group elements are expressed as complex matrices, and the complex conjugate of a complex representation is a different, non-equivalent representation. For compact groups, the Frobenius-Schur indicator can be used to tell whether a representation is real, complex, or pseudo-real.

For example, the N-dimensional fundamental representation of SU(N) for N greater than two is a complex representation whose complex conjugate is often called the antifundamental representation.

title: Complex representation


text:
User talk:Neilc

Archives

 * Prior to June 17, 2006

PostgreSQL
It is certainly your perogotive to remove the link to WaveMaker under admin tools. However, WaveMaker *is* a tool that you can use to create Postgres databases, views and queries, so your claims that there is no fit indicate you didn't look very hard. I would think that the fact that WaveMaker works with other databases, not just PostgreSQL, would not be a disqualifier either. - ckeene

—Preceding unsigned comment added by Ctkeene (talk • contribs) 21:38, 29 January 2009 (UTC)

Removal of a link on C programming language page
I noticed you removed the link to csourcesearch.net on this page. Have you visited this site? I think it's quite useful and worthy of inclusion. - Jrthorpe

malloc and sizeof
In C, the sizeof operator requires brackets around its operand if used on a type rather than an expression. Like so:

$ cat x.c int main(void) { 	size_t	n; n = sizeof n; 	n = sizeof (n); n = sizeof (int); n = sizeof int; } $ gcc x.c x.c: In function `main': x.c:11: error: syntax error before "int" $
 * 1) include

You may already know (or be interested to know) that the other interesting sizeof thing is what happens when you do (sizeof printf("Test!")). This result—the fact that sizeof doesn't behave like a function even though it can be made to look like one—is the reason many programmers don't use brackets around the operand unless they are required, and put a space between sizeof and the brackets in that case, ie making it look like an operator (which it is) rather than a function. NicM 13:54, 24 September 2006 (UTC).

licence/license on openbsd
Your recent search-and-replace of "licence" with "license" in the OpenBSD article seems inappropriate. There are times when this can be ok, and I haven't looked into the article to see if this is a time where it's ok, but the reason you gave in the edit summary is not ok. Maybe you just wrote a bad edit summary. In commonweath/european/internalation English, it is perfectly normal to spell names as they are supposed to be spelled, and writing licence as it is supposed to be written. For example, this is correct English in non-USA English: "The GNU General Public License is a free software licence". Gronky 20:33, 16 October 2006 (UTC)

Nemo 33 copyright
It would appear that there is no copyright violation on this article, as the source you list (http://www.anvari.org/cols/Deepest_Pool_in_the_World.html) is simply republishing Wikipedia material. -- Nick  t  11:59, 9 March 2007 (UTC)

frog design
Hi. I noticed your comment on the frog design talk page. I also think "frog" should be capitialized. Should I move the page and capitalize all instances of "frog" on the page?  Amit @  Talk  06:43, 24 November 2007 (UTC)

rtfm
It was a quote by Eric S Raymod from the 1985(?) edition of "The New Hacker's Dictionary", from the "rtm" entry. Paraphrasing from memory, it basically said that after the Worm his nick rtm was hacked to rtfm on some fora etc etc. Miqademus (talk) 13:03, 7 March 2008 (UTC)

Found poetry
Hey there. I just realized you had edited found poetry a long time ago. Can you please do it again? It seems to have stagnated a good deal, and is a wonderbed for vandalism. --Justpassin (talk) 23:25, 8 June 2008 (UTC)

Two phase locking - Cleanup tag
You have put a cleanup tag. Please be more specific (in its discussion part), so it can be improved. Thanks. Comps (talk) 18:53, 3 February 2009 (UTC)

This comment has been added to the above article discussion as well. Pls your specifics, or specifics examples, so your tag has value. Thanks. Comps (talk) 16:08, 4 February 2009 (UTC)

WikiProject Java and Portal
I recently posted the following text on Wikipedia regarding the creation of a new computing-related project: 'WikiProject Java is a Wikipedian community that aims to better organize information in articles related to the Java programming language and its platform. Please support this initiative,    A l a i n  R 3 4 5 Techno-Wiki-Geek     04:05, 25 October 2009 (UTC)
 * If I'm cor-rec-to, there are about 900 articles on Java technology in Wikipedia, which may be more than ALL other programming languages articles combined...
 * At least, it's more than for C++, and there IS a C++ WikiProject...
 * And it's MUCH more than the .NET WikiProject with 82 articles...
 * There is also a Ruby project and a Python portal so...
 * Now you can also see a proposal for the Java Portal (temp location).'

In Salt movie, Winter did not shoot the president but he has hit him with the back of his pistol, knocking him unconscious.
Having seen the Salt movie more than once, I believe that when the President refused to cooperate, Winter did NOT shoot him, but knocked him unconscious by hitting him in the face with the back of his pistol. You can argue that the president LATER died from brain damage, but he was not shot, maybe because Winter still needed him alive for a while, and probably the President was still alive when the Secret Service agents entered the room and arrested Salt, because at that time Winter told them to take care of the President. Also I am not sure that at the end of the movie the radio announcement says that the president is replaced by a new one whose parents dies in Russia. Was this said AFTER the credits? —Preceding unsigned comment added by Objectivecorrector (talk • contribs) 04:33, 25 November 2010 (UTC)

Speedy deletion nomination of Datagram socket

A tag has been placed on Datagram socket, requesting that it be speedily deleted from Wikipedia. This has been done for the following reason:

not noteworthy or distinguished

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If you think that this notice was placed here in error, contest the deletion by clicking on the button labelled "Click here to contest this speedy deletion". Doing so will take you to the talk page where you will find a pre-formatted place for you to explain why you believe the page should not be deleted. You can also visit the page's talk page directly to give your reasons, but be aware that once tagged for speedy deletion, if the page meets the criterion, it may be deleted without delay. Please do not remove the speedy deletion tag yourself, but don't hesitate to add information to the page that would render it more in conformance with Wikipedia's policies and guidelines. If the page is deleted, you can contact one of these administrators to request that the administrator userfy the page or email a copy to you. Stephen Charles Thompson (talk) 21:46, 24 January 2012 (UTC)

A page you started has been reviewed!
Thanks for creating WPIX, Inc. v. ivi, Inc., Neilc!

Wikipedia editor MrX just reviewed your page, and wrote this note for you:

"Nice work!"

To reply, leave a comment on MrX's talk page.

Learn more about page curation.

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ArbCom elections are now open!
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title: User talk:Neilc


text:
Hanalei

Hanalei means "lei making" or "crescent bay" in Hawaiian. It may refer to:

Features on Kauai

 * Hanalei, Hawaii, a village (census-designated place)
 * Hanalei River
 * Hanalei Bay
 * Hanalei National Wildlife Refuge
 * Hanalei Pier, on the National Register of Historic Places

Other uses

 * Hanalei (band), an American indie rock band

title: Hanalei


text:
Category:Provinces of China

In the People's Republic of China, the province-level (first-level) subdivisions are provinces, autonomous regions, municipalities, and special administrative regions.

In the Republic of China, there are aso provinces.

title: Category:Provinces of China


text:
Talk:CITS-DT

I have never heard Crossroads referred to as "CITS", only "CTS". Is this a corporate acronym which is shortened for convenience? Even their website makes no mention of "CITS". Also, I put the list of programs they air more as a way to get a chance to write an article on Michael Coren (no links elsewhere in the encyclopedia) than because I thought it was relevant. Thought I would point that out in case somebody thought it was clumpy and irrelvant (as I do). -- Matty j 23:53, May 31, 2004 (UTC)

CTS is showing many other religious shows, Christian, Muslim and Sikh shows are some of them on the station.

CITS is the official Industry Canada's call sign, which has to be 4 letters.

Fair use rationale for Image:Cts.png
Image:Cts.png is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot 05:16, 16 September 2007 (UTC)

title: Talk:CITS-DT


text: Category:China

title: Category:China


text:
Category:Lists of mayors

These are lists of mayors and include some or all of the following elements:
 * Name of each mayor
 * Years when the office was held, sometimes dates for each term
 * Political party
 * Year or date of birth/death of the mayor
 * Exact title of the mayor
 * Description of the office, year/date it was created
 * Notes on each mayor

The lists are generally also categorized:
 * in the category for the city (e.g., Category:Utrecht (city)) or its government (e.g. Category:Government of Los Angeles)
 * and, with an asterisk ("*") as sortkey, in the category for the mayors of the city, if available, (e.g. Category:Mayors of New York City) or country (e.g. Category:Mayors of places in the Netherlands).

See also: Lists of mayors by country, List of the mayors of the palaces, Mayors by city (also listed in the first or subcategory section below)

title: Category:Lists of mayors


text:
Antifundamental representation

In mathematics differential geometry, an antifundamental representation of a Lie group is the complex conjugate of the fundamental representation, although the distinction between the fundamental and the antifundamental representation is a matter of convention. However, these two are often non-equivalent, because each of them is a complex representation.

title: Antifundamental representation


text: Category:Antibiotics

title: Category:Antibiotics


text:
Alex Riel

Alex Riel (13 September 1940 – 9 June 2024) was a Danish jazz and rock drummer. His first group Alex Riel/Palle Mikkelborg Quintet won the Montreux Grand Prix Award at the Montreux Jazz Festival in 1968. He was married to the writer Ane Riel.

Biography
Riel recorded with, among others, Booker Ervin, Kenny Drew, Kenny Werner, Bob Brookmeyer, Thomas Clausen, Bill Evans, Eddie "Lockjaw" Davis, Donald Byrd, Don Cherry, Thad Jones, and Ben Webster. He formed a jazz ensemble with bass player Niels-Henning Ørsted Pedersen. Riel was also a founding member in 1968 of the Danish rock group The Savage Rose. His album The Riel Deal won a Danish Grammy Award Jazz in 1996.

In September 2010, Riel's 70th birthday celebration at the Jazzhus Montmartre was broadcast live with the title Celebration of a Living Jazz Legend by the Danish national television station TV2.

Personal life and death
Riel married crime fiction author Ane Riel in 2002. They lived in Liseleje in North Zealand from 2005 until his death. He died at his home there on 9 June 2024, at the age of 83.

Awards

 * Danish Jazz Musician Award 1965 presented by Duke Ellington and Sam Woodyard (Photo)
 * Ben Webster 90 Years Honorary Prize 1999 (shared with Niels-Henning Ørsted Pedersen and Olivier Antunes)
 * Danish Grammy Award Jazz in 1996 for Riel's album The Riel Deal
 * Life Time Achievement Award from IFPI 2007 (Photo)

As leader

 * Alex Riel Trio with Kenny Drew, Niels-Henning Ørsted Pedersen (Fona, 1965)
 * Emergence with Jesper Lundgaard, Jerry Bergonzi (Red, 1994)
 * The Riel Deal with Kenny Werner, Jerry Bergonzi (Stunt, 1996)
 * Unriel with Jerry Bergonzi, Michael Brecker, Eddie Gómez, Mike Stern, Niels Lan Doky (Stunt, 1997)
 * DSB Kino with Harry Sweets Edison, Roger Kellaway (Stunt, 1998)
 * Rielatin with Jerry Bergonzi, Mike Stern, Kenny Werner (Stunt, 1999)
 * Celebration (Stunt, 2000)
 * Live at Jive Alex Riel/Luts Büchner Quartet (Stunt, 2001)
 * What Happened? Alex Riel Trio (Cowbell, 2004)
 * The High & The Mighty Alex Riel Trio (Cowbell, 2007)
 * Live at Stars Alex Riel Quartet feat. Charlie Mariano (Cowbell, 2008)
 * Riel Time Alex Riel Quartet (Cowbell, 2008)
 * Get Riel (Cowbell, 2008)

As sideman
With Eddie "Lockjaw" Davis
 * Swingin' Till the Girls Come Home (SteepleChase, 1976)

With Dexter Gordon
 * Cheese Cake (SteepleChase, 1964 [1979])
 * King Neptune (SteepleChase, 1964 [1979])
 * Love for Sale (SteepleChase, 1964 [1982])
 * It's You or No One (SteepleChase, 1964 [1983])
 * Billie's Bounce (SteepleChase, 1964 [1983])
 * Loose Walk (SteepleChase 1965 [2003])
 * Misty (SteepleChase, 1965 [2004])
 * Heartaches (SteepleChase, 1965 [2004])
 * Ladybird (SteepleChase, 1965 [2005])
 * More Than You Know (SteepleChase, 1975)
 * Swiss Nights Vol. 1 (SteepleChase, 1975 [1976])
 * Swiss Nights Vol. 2 (SteepleChase, 1975 [1978])
 * Swiss Nights Vol. 3 (SteepleChase, 1975 [1979])
 * Lullaby for a Monster (SteepleChase, 1976 [1981])

With Bob Brookmeyer
 * Holiday (Challenge, 1981)

With Ken McIntyre
 * Hindsight (SteepleChase, 1974)

With Jackie McLean
 * Live at Montmartre (SteepleChase, 1972)
 * Ode to Super (SteepleChase, 1973) with Gary Bartz
 * A Ghetto Lullaby (SteepleChase, 1974)
 * The Meeting (SteepleChase, 1974) with Dexter Gordon
 * The Source (SteepleChase, 1974) with Dexter Gordon

With Archie Shepp and Lars Gullin
 * The House I Live In (SteepleChase, 1963 [1980])

With Sahib Shihab
 * Sahib's Jazz Party (Debut, 1963)

With Thorgeir Stubø
 * Flight (Hot Club, 1985)

With Radka Toneff
 * Live in Hamburg (Odin, 1981)
 * Butterfly, track 4-6 (Curling Legs, 2008)

With Ben Webster
 * My Man: Live at Montmartre 1973 (SteepleChase, 1973)

title: Alex Riel