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Moses (Michelangelo)

Moses (Mosè ; c. 1513–1515) is a sculpture by the Italian High Renaissance artist Michelangelo, housed in the church of San Pietro in Vincoli in Rome. Commissioned in 1505 by Pope Julius II for his tomb, it depicts the biblical figure Moses with horns on his head, based on a description in chapter 34 of Exodus in the Vulgate, the Latin translation of the Bible used at that time. Some scholars believe the use of horns may often hold an antisemitic implication, while others hold that it is simply a convention based on the translation error.

Sigmund Freud's interpretations of the statue from 1916 are particularly well-known. Some interpretations of the sculpture including Freud note a demotic force, but also as a beautiful figure, with an emotional intensity as God's word is revealed. The delicacy of some of the features such as Moses' flowing hair are seen as a remarkable technical achievement, but Freud argues that Michelangelo goes beyond mere skills to provoke curiosity in the viewer, asking why Moses plays with his hair, and why he is presented with horns and flowing hair.

Commissioning and history
Pope Julius II commissioned Michelangelo to build his tomb in 1505 and it was finally completed in 1545; Julius II died in 1513. The initial design by Michelangelo was massive and called for over 40 statues. The statue of Moses would have been placed on a tier about 3.74 meters high (12 ft 3 in), opposite a figure of St. Paul. In the final design, the statue of Moses sits in the center of the bottom tier.

Description
Giorgio Vasari in the "Life of Michelangelo" wrote: "Michelangelo finished the Moses in marble, a statue of five braccia, unequaled by any modern or ancient work. Seated in a serious attitude, he rests with one arm on the tablets, and with the other holds his long glossy beard, the hairs, so difficult to render in sculpture, being so soft and downy that it seems as if the iron chisel must have become a brush. The beautiful face, like that of a saint and mighty prince, seems as one regards it to need the veil to cover it, so splendid and shining does it appear, and so well has the artist presented in the marble the divinity with which God had endowed that holy countenance. The draperies fall in graceful folds, the muscles of the arms and bones of the hands are of such beauty and perfection, as are the legs and knees, the feet were adorned with excellent shoes, that Moses may now be called the friend of God more than ever, since God has permitted his body to be prepared for the resurrection before the others by the hand of Michelangelo. The Jews still go every Saturday in troops to visit and adore it as a divine, not a human thing."

The English translation of Sigmund Freud's "The Moses of Michelangelo" also provides a basic description of the sculpture: "The Moses of Michelangelo is represented as seated; his body faces forward, his head with its mighty beard looks to the left, his right foot rests on the ground, and his left leg is raised so that only the toes touch the ground. His right arm links the Tables of the Law with something that looks like a book in the right palm of his hand with a portion of his beard; his left arm lies in his lap."

Jonathan Jones of the English newspaper, The Guardian, provides another description: "Moses's right hand protects the stone tablets bearing the Commandments; his left hand, veins throbbing, muscles tense, appears to be holding back from the violent action. When he came down from Mount Sinai, Moses found his people worshipping the Golden Calf – the false idol they had made. His anger defies the prison of stone, the limits of the sculptor's art. Few can resist the impression of a real mind, real emotions, in the figure that glares from his marble seat. Today, he glares at the tourists who mob the church of San Pietro in Vincoli, Rome. He outfaces them, just as he outfaced Sigmund Freud, who spent three weeks in 1913 trying to figure out the sculpture's emotional effect. Moses's vitality has made this work popular since the 16th century; according to Vasari, Rome's Jewish population adopted the statue as their own. Its power must have something to do with the rendition of things that should be impossible to depict in stone; most quirkily, the beard – so ropy and smoky, its coils gave fantastic, snaking life. But where others might astonish us with technique, Michelangelo goes beyond this, leading us from formal to intellectual surprise, making us wonder why Moses fondles his beard, why Michelangelo has used this river of hair – in combination with the horns that were a conventional attribute of Moses – to give him an inhuman, demonic aspect."

Interpretations
In his 1914 essay entitled "The Moses of Michelangelo", Sigmund Freud associates the moment in the biblical narrative when Moses descends from the mountain the first time, carrying the tablets, and finds the Hebrew people worshipping the Golden Calf, as described in Exodus 32. Freud describes Moses in a complex psychological state: We may now, I believe, permit ourselves to reap the fruits of our endeavors. We have seen how many of those who have felt the influence of this statue has been compelled to interpret it as representing Moses agitated by the spectacle of his people fallen from grace and dancing round an idol. But this interpretation had to be given up, for it made us expect to see him spring up in the next moment, break the Tables and accomplish the work of vengeance. Such a conception, however, would fail to harmonize with the design of making this figure, together with three (or five) more seated figures, a part of the tomb of Julius II. We may now take up again the abandoned interpretation, for the Moses we have reconstructed will neither leap up nor cast the Tables from him. What we see before us is not the inception of violent action but the remains of a movement that has already taken place. In his first transport of fury, Moses desired to act, to spring up and take vengeance and forget the Tables; but he has overcome the temptation, and he will now remain seated and still, in his frozen wrath and his pain mingled with contempt. Nor will he throw away the Tables so that they will break on the stones, for it is on their particular account that he has controlled his anger; it was to preserve them that he kept his passion in check. In giving way to his rage and indignation, he had to neglect the Tables, and the hand which upheld them was withdrawn. They began to slide down and were in danger of being broken. This brought him to himself. He remembered his mission and for its sake renounced an indulgence of his feelings. His hand returned and saved the unsupported Tables before they had fallen to the ground. In this attitude, he remained immobilized, and in this attitude, Michelangelo has portrayed him as the guardian of the tomb. As our eyes travel down it, the figure exhibits three distinct emotional strata. The lines of the face reflect the feelings which have won the ascendancy; the middle of the figure shows the traces of suppressed movement, and the foot still retains the attitude of the projected action. It is as though the controlling influence had proceeded downwards from above. No mention has been made so far of the left arm, and it seems to claim a share in our interpretation. The hand is laid in the lap in a mild gesture and holds as though in a caress the end of the flowing beard. It seems as if it is meant to counteract the violence with which the other hand had misused the beard a few moments ago.

Another view, put forward by Malcolm Macmillan and Peter J. Swales in their essay, "Observations from the Refuse-Heap: Freud, Michelangelo's Moses, and Psychoanalysis", relates the sculpture to the second set of Tables and the events mentioned in Exodus 33 and 34. They note that Moses is holding blank tablets, which God had commanded Moses to make in preparation for the second giving of the Law; they also note that Moses is depicted with "horns" which the biblical texts describe Moses as having only after he returned to the Hebrew people after the second giving of the Law. They argue that the statue depicts the moment when Moses sees God, as described in Exodus 33: "The incident in question is the most significant part of the Old Testament story of the exodus. Moses, full of doubt about his own standing and that of his people, takes the considerable risk of requesting—even demanding—that they are forgiven, that he be granted the Lord's grace, and that the Lord resume his place and lead them to the Promised Land. Emboldened by his success, he then risks all by asking that the Lord reveal his glory. Little imagination is required to sense the intense emotion with which such a Moses would have awaited the Lord: Will he come? Will he renew the Covenant? Will he reveal his glory?" They further argue that both Paul and Moses experienced God directly, an idea and pairing that were important to the Florentine Neo-Platonists, a group that the authors view both Michelangelo and Pope Julius II as being akin to. Finally, the authors state the key emotion on Moses' face is "awe at being face to face with the creator."

Tensions between Michelangelo and Julius II
Some interpretations, including those of Freud, refer to the tensions between Julius II, who commissioned his tomb from Michelangelo, and the artist. Freud claimed that Moses functions as a reproach both to Julius and the artist. Bertman notes that Julius II was frequently bearded, which had been unknown among Popes for a millennium, and that there may be physical similarities between the statue and Julius.

Shining face interpreted as horns
Following the iconographic convention common in Latin Christianity, the statue has two horns on its head. The depiction of a horned Moses stems from the description of Moses' face as "cornuta" ("horned") in the Latin Vulgate translation of the passage found at Exodus chapter 34, specifically verses 29, 30 and 35, in which Moses returns to the people after receiving the commandments for the second time. Some modern scholars contend that medieval theologians believed that Jerome had intended to express a glorification of Moses' face, by his use of the Latin word for "horned." and that this understanding that the original Hebrew was difficult and was not likely to mean "horns" persisted into and through the Renaissance.

Classicist Stephen Bertman argues that Jerome is known himself to hold antisemitic views, and may have made the choice to associate Moses with "horns" consciously for theological reasons, expecting his readers to have in mind the New Testament association of horns with devils, wild beasts and the antichrist. In the Christian art of the Middle Ages depicting Moses with horns, this is sometimes done to depict him in glory, as a prophet and precursor of Jesus, but also in negative contexts, especially about Pauline contrasts between faith and law; the iconography was not clear-cut. Art historian Ruth Mellinkoff argues that while the horns of Moses in origin were in no way associated with those of the Devil, the horns may nevertheless have developed a negative connotation with the development of anti-Jewish sentiment in the medieval and early modern period. Associations in images between Jews and devils were frequently made, and Jews were sometimes portrayed as having horns. Bertman views the statue itself as being a negative portrayal of Moses, building on these perceptions. The statue is argued by art historian Jennifer Koosed as being the culmination of the horned Moses tradition, mixing animal and human qualities to present the divine.

A book published in 2008 advanced a theory that the "horns" on Michelangelo's statue were never meant to be seen and that it is wrong to interpret them as horns: "[The statue] never had horns. The artist had planned Moses as a masterpiece not only of sculpture but also of special optical effects worthy of any Hollywood movie. For this reason, the piece had to be elevated and facing straight forward, looking in the direction of the front door of the basilica. The two protrusions on the head would have been invisible to the viewer looking up from the floor below – the only thing that would have been seen was the light reflected off of them." This interpretation has been contested.

Casts and reproductions

In 1931, Vojislav Veljković, a former Minister of Finance of the Kingdom of Yugoslavia, known as "the father of the Yugoslav golden Dinar", and an avid art collector, petitioned Pope Pius XI to use the lost-wax method to have bronze casts of 21 of Michelangelo's original sculptures, including Moses, produced. The Pope's approval was granted on the condition that Veljković would fashion a suitable space with a climate control system that would ensure the internal temperature would be kept within one degree Celsius throughout the year, thus preventing deformation of the bronze over time. Veljković initiated the construction a modern exhibition pavilion in the courtyard of his family house in Belgrade, the capital of the Kingdom of Yugoslavia, resulting in the first private museum in Southeast Europe. He named it Museo, though it would later become colloquially known as the Veljković Pavillion. The building also featured the first modern HVAC system installed in Southeast Europe.

Once the Pope approved the petition, the Paris foundry Susse Frères was commissioned to produce the casts, and the certificates of authenticity were issued by the Vatican. Unfortunately, Veljković died before the new museum was opened in 1934, but his brother Jovan saw the project through.

Museo was opened to the public twice a week. In addition to the cast of Moses, the museum exhibited over 250 other art pieces, including casts of four other Michelangelo originals—Day, Night, Dying Slave, and Rebellious Slave—a number of paintings by Uroš Predić, Paja Jovanović, Sava Šumanović, Nadežda Petrović, and Marko Murat, a set of caricatures by Beta Vukanović, a cast of Jean-Antoine Houdon's Voltaire, as well as a number of antique sculptures.

The Axis invasion of Yugoslavia in World War II led to the closure of Museo. During the occupation, the Germans did not plunder the collection.

After the war and the Communist takeover of Yugoslavia, the museum and the art pieces were nationalized by the state. The building was first given as an atelier to Moše Pijade, then to the sculptor Sreten Stojanović, and eventually converted to a shoe and leather storage by the Municipality of Savski Venac. All the paintings from the collection, as well as a few statues, went missing during this period. The bronze casts of Michelangelo's works were transferred to the Academy of Fine Arts, which later evolved into the Faculty of Fine Arts of the University of Arts in Belgrade. They were stored at Toma Rosandić's workshop in the Topčider neighborhood. The location would later become the seat of the sculpture department of the Faculty of Fine Arts. Today, the cast of Moses is still on display there.

In 1971, a reproduction of the statue was unveiled at Myers Park in Auckland, New Zealand, purchased by the Milne & Choyce department store.

title: Moses (Michelangelo)


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Mamie Van Doren

Mamie Van Doren (born Joan Lucille Olander; February 6, 1931) is an American actress, singer, model, and sex symbol who rose to prominence in the 1950s and 1960s. A blonde bombshell, she is known as one of the "Three M's"  along with Marilyn Monroe and Jayne Mansfield, who were friends and contemporaries. In 1953, Van Doren, then named Joan Lucille Olander, signed a seven-year contract with Universal, which hoped that she would be their version of Marilyn Monroe. During her time at Universal, she starred in teen dramas, exploitation films, musical, and comedy films among other genres. She has married five times, but notably had intimate affairs with many other Hollywood actors. She was one of the leading sex symbols in the 1950s.

Van Doren was born and raised in Rowena, South Dakota, but her parents moved to Sioux City, Iowa and eventually to Los Angeles, California in 1942 before she married Jack Newman. In 1949, at the age of eighteen, she won Miss Palm Springs and Miss Eight Ball. As Miss Eight Ball, she was discovered by film producer Howard Hughes, who put her in the RKO films His Kind of Woman (1951), Two Tickets to Broadway (1951), and Jet Pilot (1957) with minor roles. In 1950, she was dating heavyweight boxer Jack Dempsey in New York City and was engaged with him. However, she left him to go to back to Los Angeles. On January 20, 1953, Van Doren signed a contract with Universal, who wanted Van Doren to be their equivalent of Marilyn Monroe. While at Universal, she changed her name to Mamie Van Doren, with the "Van Doren" part coming from Universal telling her she was more Dutch than Swedish, and the "Mamie" part coming from then First Lady Mamie Eisenhower.

During her time at Universal, Van Doren starred in movies such as The Second Greatest Sex (1955), Running Wild (1955) and The All American (1953). Outside of Universal, she starred in Untamed Youth (1957), Teacher's Pet (1958), High School Confidential (1958), Born Reckless (1958), The Beat Generation (1959), and Sex Kittens Go To College (1960). She starred on television shows such as What's My Line?, The Jack Benny Program, and The Bob Cummings Show. After Universal decided not to renew her contract in 1959, Van Doren struggled to find work as a free agent. She starred in many B movies, such as Voyage to the Planet of Prehistoric Women (1968), The Las Vegas Hillbillys (1966) with Jayne Mansfield, and, most notably, 3 Nuts in Search of a Bolt (1964) with Tommy Noonan. Van Doren had previously denied Noonan's offer to star in Promises! Promises! (1963), and was replaced. However, she starred as Saxie Symbol in 3 Nuts in Search of a Bolt, which, according to Van Doren, was inspired by the success of ''Promises! Promises!'' This film challenged the Hays Code, and the same year, she appeared in the June 1964 Playboy magazine with nude photos of her on the shoot of the film.

Van Doren went to Vietnam during the Vietnam War to entertain troops in the 1970s. Partially due to the deaths of Van Doren's friends Jayne Mansfield and Marilyn Monroe, Van Doren decided to retire from acting. She struggled to find work as she found the blonde bombshell image was embarrassing. In 1987, Van Doren released her autobiography, Playing the Field: My Story, which brought some attention back to her. Van Doren also fought against serophobia in the 1980s. On February 1, 1994, Van Doren received her star on the Hollywood Walk of Fame. In 1998, Van Doren created her website describing herself as “the first authentic kitten on Cyberspace". On her website, she posed nude in photos and videos, told stories, and wrote many updates on her life. She continued her website until it shut down in the 2010s. In 2022, Van Doren released her second book, China & Me, and has recently started writing a third autobiography, Secrets of the Goddess.

Early life
Van Doren was born Joan Lucille Olander on February 6, 1931 in Rowena, South Dakota, nine miles out of Sioux Falls. She is the daughter of Warner Carl Olander (1908–1992) and Lucille Harriet Bennett (1912–1995). Olander and Bennett had met at a Swedish Lutherian Church, which had been partially built by them. They married in August 1930. She was named after Joan Crawford, who Van Doren's mother was a fan of. She is of three-quarters Swedish, and also mixed Irish, and German. Van Doren's father, Warner Olander worked as a rock quarry to take care of her family, and was paid $0.35 cents a load, and sometimes $7.00. According to Van Doren, the town consisted of a church, school, railroad station, and a connected filling station, grocery store, a grain elevator, and a hardware store owned by her great uncle. Her maternal grandmother was Swedish, as she was born in Gothenburg, Sweden.

In 1939, Van Doren's parents moved to Sioux City, Iowa since her father got a better job as a mechanic. This led to a young Van Doren moving to her maternal grandparents, the Bennett's, 160-acre farm in Rowena. Van Doren later reflected on this, saying in her 1987 autobiography Playing the Field "It was the Depression, times were that hard." She described in her memoir that her grandmother, whom she called "Dah", was an important household figure, while her grandfather, "Pa", would take Van Doren into town weekly. She additionally lived with her maternal uncle on the farm. Van Doren also recalls in her autobiography her first experience flying a plane on the ranch. Van Doren would walk a mile and a half to a two room schoolhouse on the ranch, often in different types of weather including snow, rain, and wind.

Van Doren grew up sickly on the ranch. Van Doren recalled having her temperature rise to 106°F (41.1°C). However, she was still brought to school when sick by her grandmother, who wanted only herself on the ranch. She additionally had three operations before the age of seven. She almost died at four from a hemorrhage, and had a bump removed from her face, which caused Van Doren to be bullied in school. This removal left a small scar on Van Doren's face.

Van Doren moved to Sioux City in 1939 to live with her parents, where she watched movies with actors such as Clark Gable, Carole Lombard, Spencer Tracy, Fred Astaire, Katharine Hepburn, Jean Harlow, Mae West, and Ginger Rogers. Van Doren dreamed to be a movie star at this time: "The other thing the movies seemed to promise was love. In every one of those celluloid fairy tales, the heroine lived happily ever after in the company of the man she loved. How I yearned for that. It was then that I set my heart on becoming a Hollywood star."

In May of 1942, when Van Doren was nine, she moved to Los Angeles with her family during World War II, only a few miles away from Hollywood. Her family quickly moved to an apartment, as many people were moving to the West Coast for the war effort at the time for jobs such as defense plants. After staying at a boardinghouse, Van Doren and her family moved to an apartment on Raymond Avenue, where Van Doren, a child, had to sneak through a door. Van Doren and her family soon moved to a bigger apartment in Los Angeles.

According to Van Doren, a man exposed himself to her while she was in a car heading to her home. In her 1964 book My Naughty, Naughty Life!, she reminisces the event saying "For weeks – and occasionally even years later – that man returned to me in my sleep, leaving me a neurotic young girl and even upsetting me as a woman. For several months after that experience I found myself hating boys, and looking upon men as animals. But I'm glad that hatred never lasted.

After her thirteenth birthday, Van Doren was able to convince the manager of Hollywood Pantages Theatre to make her an usherette, which allowed her to watch popular movies at the time. Van Doren often spent time at a drugstore, inspired by the myth of the discovery of Lana Turner at Schwab's Pharmacy. At this point, Van Doren had already dyed her hair platinum blonde. After being commented on by Nils Thor Grunlund, known by his initials NTG, that she looked similar to Jean Harlow, she was able to be on his Hollywood TV show for a minor role. However, her parents were worried that she would get in trouble and feared that she would go on to be killed like Black Dahlia, who was, as stated by Van Doren, one of their closest friends. Despite that, Van Doren went on Grunlund's show, coated in white pancake makeup and brown lipstick. Van Doren stated that Grulund's show was a prototype to the modern talk show. While making the show, she was known as Little Joanie, the Flower Girl. Van Doren and her mother became friends with Grunlund. Van Doren also sang with Ted Fio Rito's Band. At the Montecito Hotel in Palm Springs, in the summer of 1949, Van Doren was suggested to be Miss Palm Springs, sponsored by the Montecito Hotel. She won the title, and at the Los Angeles Press Club, she was asked to be the club's beauty queen, Miss Eight Ball. The previous year, Marilyn Monroe had been crowned the title Van Doren was crowned the title. Due to this, Van Doren had dropped out of Los Angeles High School, which she had hated.

Van Doren met sportswear and shirt manufacturer Jack Newman around 1949, with Newman one of her father's friends which she watched boxing matches with. They had a honeymoon in San Francisco, and soon got engaged to Newman. Van Doren said in her book, Playing the Field "When Jack asked me to marry him, I swiftly agreed. He was my ticket out of my parents' house and into womanhood. We eloped to Santa Barbara, where I lied about my age to the judge who married us." She married him in 1950 at the Santa Barbara Town, and she initially enjoyed sexual relations with him. Additionally, Van Doren enjoyed Newman's wealthy lifestyle, as Newman had lived in a luxury apartment in Beverly Hills, California. According to Van Doren, Newman quickly got jealous of Van Doren due to her often being glanced in the outfits Newman purchased for her. However, she divorced him after six months due to his abusive behavior, including a time that Van Doren described in her memoir in which he threatened to throw her off a second-story balcony, which was quickly disbanded by neighbors and a time where Newman shredded Van Doren’s favorite hat.

1950–1953: Howard Hughes, first films, Jimmy McHugh and stage girl
Film producer Howard Hughes discovered Van Doren when she was crowned Miss Palm Springs, and, according to Van Doren, the first question he asked her was "Are you a virgin?" Van Doren recalls that Howard Hughes was controlling and she dated him. According to an interview in 2005, Hughes took Van Doren to a place on Vermont Street to have a braless photoshoot in a white sweater. Van Doren would often meet Howard Hughes at the Garden of Allah Hotel. Hughes provided Van Doren a four film contract deal for RKO.

In 1950, Hughes provided Van Doren with a bit part in Jet Pilot (1957) at RKO Radio Pictures, which was filmed from 1949 to 1950, but released in 1957. The film, which starred John Wayne and Janet Leigh, was her film debut. She recalls that she had a good experience with Janet Leigh, who allowed Van Doren to fly in her jet. Her line of dialogue consisted of one word, "Look!" and she appears uncredited in the film. Van Doren additionally had a small role in Footlight Varieties (1951) as the girl in the theater in the final scene of the film. Van Doren had another role, in Two Tickets to Broadway (1951). The film starred Tony Martin and Janet Leigh, who previously been in Jet Pilot with Van Doren.

Van Doren did a few more bit parts in movies at RKO, including His Kind of Woman (1951) starring Robert Mitchum, Jane Russell and Vincent Price. The film was shot on the backlot of the David O. Selznick Studio. About her appearance in this movie, Van Doren said "If you blinked you would miss me. I look barely old enough to drive." She was on the film for three months, and because of the money she earned, bought an MG car. Van Doren also met Gloria Swanson who asked her "Is that your real color of hair?" Van Doren was coached by Natasha Lytess, who had also coached Marilyn Monroe. Monroe and Van Doren met several times when Van Doren was being coached by Lytess. However, Van Doren stopped her lessons with Lytess because "Natasha spent most of our lessons talking, however, and there was very little time left, after her long-winded speeches on the art of acting, to actually perform for her".

In her memoir, Van Doren recollects her relationship with Charles Fischetti, an American mobster and the cousin of Al Capone, whom she met in Las Vegas. Money was often sent to Van Doren from Chicago by Fischetti. Van Doren planned a trip to Chicago to see Fischetti, but she never got to see him due to his sudden death from a heart attack in 1951.

Danielle Cory, an RKO worker and friend of Van Doren, suggested that Van Doren work on stage for the play Billion Dollar Baby, which began her career onstage as a showgirl. The show was held at the Proser Cafe Theatre, near Jack Dempsey's restaurant. Cory additionally suggested that Van Doren should audition for Alberto Vargas to be one of the "Vargas Girls" in Esquire. Vargas ended up picked Van Doren as one of his models.

In New York City, she met boxer Jack Dempsey at the Jack Dempsey's Broadway Restaurant. Dempesy frequented the Billion Dollar Baby show, and held a celebration for the cast. Dempsey requested to have a dinner with Van Doren, and they later had it at the Stork Club, and had a conversation with Sherman Billingsley, the founder of the Stork Club. As Dempsey was treated as a celebrity, the couple was able to go to many other clubs, such as Copacabana and the 21 Club. Dempsey eventually got engaged to Van Doren, but Van Doren eventually decided to move back to Hollywood because she thought it would be better for her career. According to Barry Lowe, Van Doren was "near penniless, out of work, and frightened for the future." due to Billion Dollar Baby not being successful.

At the request of Sammy Fain, Van Doren met songwriter Jimmy McHugh. McHugh had an interest in Van Doren's career, and became her manager. Van Doren has stated that since she was managed by McHugh, who was dating gossip columnist Louella Parsons, that Parsons disliked Van Doren. McHugh told Van Doren that he would put Van Doren into a drama school, and additionally arranged for her to be at Ben Bard's Theater. Bard had an acting school, and plays that were attended by film scouts, casting agents, and directors. Van Doren was in Bard's theater productions, such as Once in a Lifetime, and At War with the Army. At Bard's school, Van Doren was given advice to by Carolyn Jones, and she was taught by Aaron Spelling in private, which broke Bard's school rules. Van Doren would also go to many of McHugh's parties, attended by Darryl F. Zanuck, Louis B. Mayer, and Buddy Adler. This allowed Van Doren to do a screen test for Paramount Pictures.

As stated by Van Doren in her autobiography, Playing the Field, Van Doren decided to do a scene from The Big Knife for her Paramount screen test. Van Doren later stated that during the audition "I played the scene with as much intensity as I had ever played a role, feeling the character's pain and anguish so acutely that it became my own". After the audition, according to Van Doren, McHugh told her "They're going to offer you a contract". However, Paramount made the decision to not sign Van Doren a few days later. Van Doren stated Paramount told her the reason was that she looked too similar to Marilyn Monroe. However, Van Doren believes that she that she was not signed was because Parsons pressured Paramount into not signingher.

1953–1960: Films at Universal Studios, Paramount, and Metro-Goldwyn-Mayer
Van Doren performed in the Bliss-Hayden Theater, as McHugh had called the Harry Hayden, manager of the theater, and made time for Van Doren to perform. While performing, Van Doren caught the attention of Phil Benjamin, a Universal casting director, who was in the audience. Benjamin called McHugh, and Van Doren met Benjamin at Universal's studio. Benjamin believed that Van Doren was fit for a singer in the then upcoming Universal film Forbidden (1953), starring Tony Curtis. Van Doren met the director of Forbidden, Rudolph Maté, and requested that Van Doren would sing I Can't Give You Anything but Love, Baby, one of McHugh's songs. Maté approved, and Van Doren filmed the scene shortly after, where she acted as a singer. During the filming, Van Doren recalled seeing Milton Rackmil, the head of Decca Reccords.

On January 20, 1953, Van Doren signed a seven year contract with Universal. Van Doren, whose signing day coincided with the Inauguration of Dwight D. Eisenhower, was given the first name "Mamie" after Eisenhower's wife, Mamie Eisenhower. She was given the last name "Van Doren" after Van Doren was told by the studio that she looked more Dutch than Swedish. Universal had intended for Van Doren to be their "answer to Marilyn Monroe." However, unlike other Marilyn Monroe lookalikes, Van Doren did not portray the "dumb blonde" role in films.

In January 1953, Van Doren took college courses from professors at University of California while training to be an actress at Universal. She also took lessons for horseback riding, diction, scene study, ballet. On February 26, 1953, Van Doren went on a date with Rock Hudson, arranged by Universal, for the 10th Golden Globe Awards. According to Van Doren herself, she had an encounter with Joan Crawford, who "drunkenly tried to flirt with Rock [Hudson]." Midway through the event, Van Doren had a conversation with Monroe while doing her lipstick. In her autobiography, Van Doren describes engaging in sexual activity with Hudson at her parents house after the event had ended.

Van Doren's first major role was in The All American (1953), a college football film directed by Jesse Hibbs. The film centers around a college quarterback, whose life takes a turn after his parents die in a car accident. Van Doren later said that Hibbs encouraged her to fondle him, and often put her hand at his groin during rehearsals. The film also starred Tony Curtis, Lori Nelson, and Richard Long. In The All American, Van Doren played Susie Ward, an ambitious waitress initially looking to find a wealthy spouse near a university. Susie Ward is a sultry, flirtatious and manipulative person, who tricks an inebriated person into proposing to her. This would help shape her future roles as a "bad girl", rather than being a "dumb blonde". Due to good reviews from Universal-International executives, Van Doren was sent on tour to promote the film.

Van Doren's second major film was the 1954 film Yankee Pasha. The film was based on Edison Marshall's 1947 novel of the same name, which Universal had recently purchased. Yankee Pasha centers around a man who sails the ocean, played by Jeff Chandler, to find his true love, a woman forced into slavery, who was portrayed by Van Doren. The eight week shooting schedule exhausted Van Doren, resulting in weight loss. Van Doren has said that she was attracted to Joseph Pevney, director of Yankee Pasha. She had a relationship with him, and Van Doren said that she would embrace Pevney in his office.

In Playing the Field, Van Doren claimed that she auditioned for Metro-Goldwyn-Mayer, hoping to get the role of Ado Annie in Oklahoma!, a movie based on the Rodgers and Hammerstein musical. Despite Richard Rodgers and Oscar Hammerstein II liking her audition, she was denied the role which was given to Gloria Grahame instead.

Van Doren appeared opposite an uncredited and unknown Clint Eastwood in Star in the Dust. Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was casting her in non-breakthrough roles. Van Doren began accepting bigger and better roles in better movies from other studios.

Van Doren went on to star in several bad girl movies that later became cult films. She also appeared in some of the first movies to feature rock 'n' roll music and became identified with this rebellious style, and she made some rock records. One of her rock 'n' roll films, Untamed Youth, was later featured in the 1990 Mystery Science Theater 3000 episode "Untamed Youth".

Some of Van Doren's more noteworthy movies include Teacher's Pet (1958) at Paramount Pictures, Born Reckless (1958) at Warner Brothers, High School Confidential (1958), and The Beat Generation (1959), the latter two at Metro-Goldwyn-Mayer. But Van Doren was just as well known for her provocative roles. She was in prison for Girls Town (1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (1960) she wore only fig leaves, and in other films, like The Beautiful Legs of Sabrina (1959), Sex Kittens Go to College (1960), and Vice Raid (1960) audiences understood the nature of the films from the titles.

Many of Van Doren's film roles showcased her ample curves, and her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring (for the era) swimsuits, but she and such other blonde bombshell contemporaries as Jayne Mansfield, Cleo Moore, Sheree North, Anita Ekberg, Barbara Lang, Joi Lansing, Greta Thyssen, and Barbara Nichols did not attain the same level of superstar status as Marilyn Monroe. Marilyn, Mamie, and Mansfield were known as "The Three M's", but by comparison, where Monroe succeeded in Gentlemen Prefer Blondes and Mansfield had big success replacing Van Doren in Will Success Spoil Rock Hunter?, Universal stuck Van Doren with Francis the Talking Mule in Francis Joins the WACS (1954).

After Universal Studios chose not to renew her contract in 1959, Van Doren became a free agent and struggled to find work. Some of her later movies were foreign and independent productions, which did little to keep her image in the public's eye. Many of the productions were low-budget B movies with some having gained a cult following for their high camp value.

1960s
The first of these later films was Sex Kittens Go to College (1960), which co-starred Tuesday Weld. Following the completion of the Argentine film The Blonde from Buenos Aires (1961), Van Doren took time off from her career. She came back in The Candidate (1964), soon followed by Freddy in the Wild West, both of which were low-budget films that left little impact. In 1964, Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt. Van Doren had turned down Noonan's previous offer to star opposite Jayne Mansfield in Promises! Promises!, and was replaced with Marie McDonald. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene but is not seen nude. She posed for Playboy to promote the film.

Van Doren next appeared in The Las Vegas Hillbillys (1966) released by Woolner Brothers. This film co-starred Mansfield; this was the only time two of "The Three M's" appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She then appeared in The Navy vs. the Night Monsters (1966), a science fiction movie. In 1967, she appeared in You've Got to Be Smart, and starred in the science fiction film Voyage to the Planet of Prehistoric Women (1968), the following year, directed by Peter Bogdanovich.

Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater in Chicago as well as appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas.

Van Doren was never a Playboy Playmate, but she posed twice for the magazine in 1964 to promote her movie 3 Nuts in Search of a Bolt (1964). By this point in her career, her figure measured 38DD-26-36 (self-described in 1997). She said "I don't even want to say double-D because they're even bigger than that."

In 1964, Van Doren was a guest at the Whisky a Go Go on the Sunset Strip in West Hollywood, California when The Beatles were at the club visiting with Jayne Mansfield, and an inebriated George Harrison accidentally threw his drink on her when trying to throw it on some bothersome journalists. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. In addition to USO shows, she visited hospitals, including the wards of amputees and burn victims.

1970s
In 1970, Van Doren had a supporting role in the western comedy The Arizona Kid. In 1975, she starred in the film That Girl From Boston, adapted from a Robert Rimmer novel, but the film was never released. Since then, Van Doren has appeared only in cameos in low-budget films. Van Doren's last film appearance was a role in the direct-to-video drama  The American Tetralogy  (2013). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$ and L.A. Law.Van Doren released Playing the Field (1987), her autobiography, which brought much attention and proved to be her biggest media splash in over 25 years. She has consistently denied in interviews ever having breast implants. In 2006, Mamie posed for photographs for Vanity Fair with Pamela Anderson as part of its annual Hollywood issue. In an interview with Fox News in February 2020, Van Doren announced that she was working on a follow-up to her autobiography. She remarked that "...a lot has happened between 1987 and 2020. So now I'm writing about what it's like getting older and appreciating life a little more as you go along, as well as getting smarter as you get older. There's so much to write about."

21st century
The title of her follow-up book was announced in December 2021 as "China & Me: Wind Flapping, Feather Pulling, and Love on the Wing", a memoir about her pet parrot China. Van Doren describes the story as "a look behind the curtain into my everyday life. It's often funny, but, like so many things in life, it has its moments of sadness. Over the decades I've integrated a wild animal into a human household, played matchmaker to find him a mate, and cared for his offspring. I'm blessed to have had China as companion, confessor, and straight man all these years; and he's still with me today." The book was published in September 2022.

In an interview with Closer in January 2021, she also reflected on the #MeToo movement, 'I've thought a lot about that. There are some things I would question, but I've also always been behind any woman with a problem because I have had plenty of them myself. [In my time] if I wanted to go to bed with someone, I'd go to bed with them, but I never did it for a movie. [A predator] would know that he was in for a fight if he ever came around me. [It would be] nails out, kicking and screaming.'

Van Doren had a website from the late 90s to the early 2010s. In recent years, Van Doren has made use of Twitter. Van Doren had a theater section, where she would post various movies. She also showed many nude and semi-nude images taken by Julie Strain. Van Doren started her own blog on which she regularly writes about a very diverse array of topics. As of July 2023 she is still posting to her blog. She has a star on the Hollywood Walk of Fame at 7057 Hollywood Boulevard. In 2005, a Golden Palm Star on the Palm Springs Walk of Stars was dedicated to her.

Personal life

Van Doren has been married five times. In 1949, she married sportswear manufacturer Jack Newman; she divorced him later that same year. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony, born March 18, 1956. The couple divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They divorced in 1968. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's re-election campaign; the marriage was annulled in 1973. Since 1979, she has been married to Thomas Dixon, an actor and dentist.

In her autobiography, Van Doren acknowledged that she had numerous affairs with celebrities, including Clark Gable, Howard Hughes, Burt Reynolds, Jack Dempsey, Steve McQueen, Clint Eastwood, Johnny Rivers, Robert Evans, Eddie Fisher, Warren Beatty, Tony Curtis, Steve Cochran, and Joe Namath. Claiming fidelity to each lover, she said "I don't wear panties anymore – this startles the Hollywood wolves so much they don't know what to pull at, so they leave me alone."

Filmography

 * Footlight Varieties (1951)
 * His Kind of Woman (1951)
 * Two Tickets to Broadway (1951)
 * Forbidden (1953)
 * The All American (1953)
 * Hawaiian Nights (1954)
 * Yankee Pasha (1954)
 * Francis Joins the WACS (1954)
 * Ain't Misbehavin' (1955)
 * The Second Greatest Sex (1955)
 * Running Wild (1955)
 * Star in the Dust (1956)
 * Untamed Youth (1957)
 * The Girl in Black Stockings (1957)
 * Jet Pilot (1957)
 * Teacher's Pet (1958)
 * High School Confidential (1958)
 * Born Reckless (1958)
 * Guns, Girls, and Gangsters (1959)
 * The Beat Generation (1959)
 * The Beautiful Legs of Sabrina (1959)
 * The Big Operator (1959)
 * Girls Town (1959)
 * Vice Raid (1960)
 * College Confidential (1960)
 * Sex Kittens Go to College (1960)
 * The Private Lives of Adam and Eve (1960)
 * The Blonde from Buenos Aires (1961)
 * The Candidate (1964)
 * Freddy in the Wild West (1964)
 * 3 Nuts in Search of a Bolt (1964)
 * The Las Vegas Hillbillys (1966)
 * The Navy vs. the Night Monsters (1966)
 * You've Got to Be Smart (1967)
 * Voyage to the Planet of Prehistoric Women (1968)
 * The Arizona Kid (1970)
 * That Girl from Boston (1975)
 * Free Ride (1986)
 * The Vegas Connection (1999)
 * Slackers (2002)
 * The American Tetralogy (2012)

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

title: Mamie Van Doren


text:
Swishahouse

Swishahouse is an independent southern rap record label and hip hop collective based in Houston, Texas.

History
Swishahouse was founded in North Houston in 1997 by founder and CEO Michael "5000" Watts and OG Ron C as a response to the popularity of chopped and screwed music from Houston's south side. The label began by distributing a mixtape series that featured chopped and screwed versions of R&B songs. Many of the current and former artists come from Acres Homes, Homestead, Rosewood & the Tidwell/Gulf Bank areas. The series includes:

A song that originally appeared on the compilation album The Day Hell Broke Loose 2, Mike Jones' "Still Tippin'", achieved mainstream success in 2004. The single would go on to be certified Platinum by the RIAA. This led to Swishahouse signing a national distribution deal with Asylum Records. Jones released his major-label debut, Who Is Mike Jones?, on Swishahouse/Warner Bros. in April 2005; the album was certified Platinum by the RIAA, for selling over a million copies in the United States of America, that June.
 *  All Freestyles
 * Final Chapter
 * Before da Kappa
 * After da Kappa
 *  Choppin Em Up
 * Fuck Action
 * Straight To Tha Room FKA Fuck Action
 *  The Day Hell Broke Loose
 * Let Your Nutz Hang
 * Rollin' Strap
 * Paper Chase
 * Blow One
 * Juvenile Delinquent (Lil Young)
 * Still Smoking
 * 2kHate

Aftermath A&R Angelo Sanders said that the great advantage to independents like Swishahouse is that, "They're able to get their product out on the streets to specific regions at a greater speed than a major ... They're able to flood that whole Texas market with a product before the majors are able to notice what is going on out there."

Paul Wall's major label debut, The Peoples Champ, on Swishahouse/Atlantic, was released in September 2005, eventually topping the Billboard 200. Before embarking on his rap career and while still at school, Wall had worked in the Swishahouse office.

In 2006, Houston based music label Dope House Records and Swishahouse teamed up to release South Park Mexican's ninth album, When Devils Strike. A chopped and screwed version was also released.

Swishahouse has archives hosted by Rice University's Center for Engaged Research and Collaborative Learning, a center under the Kinder Institute for Urban Research. The physical materials are hosted in the Woodson Research Center at the university's Fondren Library.

Notable artists

 * Paul Wall
 * Lil Keke
 * Highway Yella
 * Archie Lee
 * Cootabang
 * Chamillionaire
 * OG Ron C
 * Slim Thug
 * Mike Jones
 * Magno aka Magnificent
 * Big Pic
 * Lil Young 1st Latino

title: Swishahouse


text:
K3

K3 may refer to:

Transportation

 * China Railway K3/4
 * K-3 (Kansas highway), a state highway in Kansas
 * London Bus route K3
 * Taquan Air, an Alaskan commuter airline (by IATA code)
 * K-3 cart
 * Kia Forte, a compact car sold as Kia K3 in South Korea
 * Kia K3 (BL7), a subcompact car
 * LNER Class K3, a class of British steam locomotives
 * GSWRI Class K3, a Great Southern and Western Railway (Ireland) steam locomotive

Military

 * Units
 * Life Regiment Hussars, Swedish cavalry regiment
 * Weapons
 * K-3 (rifle), an Armenian-made bullpup rifle
 * Daewoo K3, a light machine gun
 * Ships
 * Soviet submarine K-3 Leninsky Komsomol, the first Soviet nuclear submarine
 * USS K-3 (SS-34), a 1914 United States Navy K-class submarine
 * HMS K3, a 1916 British K-class submarine
 * HMS Heliotrope (K03), a 1940 Royal Navy Flower-class corvette
 * Airfields
 * Pohang Airport, by United States Air Force designator during the Korean War

Science, technology, computing and mathematics

 * The Kleene logic K3
 * A version of the K (programming language)
 * K3 surface, a compact complex surface in mathematics
 * Menadione, vitamin K3
 * K3, 1774 marine chronometer made by Larcum Kendall
 * Pentax K-3, a digital SLR camera

Media and entertainment

 * K3 (band), a Belgian/Dutch girl group
 * K3 (television), a Catalan television channel
 * K3: Prison of Hell, a 2009 pornographic horror film
 * K3, a world in Donkey Kong Country 3: Dixie Kong's Double Trouble!

Other uses

 * K3 League, a South Korean football league
 * Gasherbrum IV, a mountain in the Karakoram previously surveyed as K3. Sometimes erroneously recorded as Broad Peak.
 * Kankakee, Illinois, an expression or abbreviation used to identify Kankakee, IL

title: K3


text:
Talk:Janez Drnovšek

Final Blog Post and Discussion
It would be very helpful, if people would discuss changes to the webpage before they make them!!!! That goes for all contributors. Noone has the right to unilaterally change posts, no matter who they think they are!

Now, there seems to be a quarrel regarding Dr Drnovsek's philosophical views and whether or not, they should be displayed. I personally am in favor of a section with some of his more famous quotes, including the "final blog post". I think that they shine a more clear light on what sort of political and philosophical transformation we are talking about. This section could be just another section on the same page, or we could create a page with the quotes separately.

Please, comment! —Preceding unsigned comment added by Lusich (talk • contribs) 15:38, 5 March 2008 (UTC)

 * Quotes as such go to Wikiquote, a sister project. However, some quotes can be used in the article but not excessively. The whole final blog post is far too long to be used as a quote in this article. Nevertheless, a part of it, like 2-3 sentences, can be added. Philosophical views are certainly important and should be mentioned, however, with appropriate tone and cited. --Tone 15:56, 5 March 2008 (UTC)

Meeting Bush - Putin
I changed the section refering to Bush and Gorbachev to Bush and Putin. Drnovsek did not arrange any meetings with Gorbachev, he arranged meeting between Putin and Bush on June 16th 2001.

http://news.bbc.co.uk/2/hi/europe/1392791.stm

I also placed that under prime minister section rather than lifestyle change section. It seemed more appropriate. —Preceding unsigned comment added by Lusich (talk • contribs) 23:33, 23 February 2008 (UTC)

Beliefs
Do you want a separate section on beliefs apart from change in lifestyle? In fact they are intimately related, but someone appears not to want me to quote his beliefs on that page, as they keep deleting my post. When I met him he told me that his life and his beliefs were interwoven and the most important thing was that people should follow their intuition. Please do start a new section for his quotes. 89.243.13.2 (talk) 16:38, 28 February 2008 (UTC)
 * The thing with WP is that everything needs to be verifiable. So if you say When I met him he told me that, this is not reliable (beside the fact that you are editing under an anonymous IP, why don't you create an account?). If you find good sources that support this statements, it is ok. I don't think a separate section on beliefs is needed, in such a section, beliefs before the change of lifestyle should be discussed as well. And regarding the final post on the blog, it is enough to write a sentence like in his last post on his blog, he summarizes his ideas+link in the references. Citing the whole post is approportional with the rest of the article. Also, read WP:NOR. I am happy you participate in work on this article because we want to make it a really good one. --Tone 16:46, 28 February 2008 (UTC)

Dear anonymous editor under the IP 89.243.13.2: let me explain why I keep deleting your edits:
 * 1.) To avoid redundancy: once his his views and lifestyle are described, it makes absolutely no sense repeating them over and over again. Terms such as "His lifestyle" and "his views" are enough.
 * 2.) I simply don't uderstand why you keep referring to the Movement for Justice and Development as "his Gibanje foundation", since there is an article of the Movement in the English wikipedia. Besides, your terminology is incorrect: it was not a foundation, but an association, and it is erroneous and misleading to call it "his", since he was not its owner (and as far as I know, not even its formal president). Your obstinate insistence makes absolutely no sense to me. I would appreciate if you at least explained your motivation for using it before deliting my edit again.
 * 3.) I have no idea what the statement "/the book/ which gives for improving your consciousness over a period of 42 days" should mean.
 * 4.) The statement "His spirituality was not just an airy-fairy philosophy but lived." is a subjective assessment, almost impossible to verify, and thus inappropriate for an encyclopedia article. If you wish, you can modify it (in the sense, "Drnovšek insisted that his philosophy was not just etc."), provide sources for this statement and insert it in the proper context (when his lifestyle change is discussed, and not at the end of the article)." As of the quotations, I suggest a wikiquote should be created, rather than a separated section in the article.

I would appreciate if you considered my remarks before you revert my edits again, otherwise I'm afraid I will have to consider it a vandalism. Pa brez zamere, Viator slovenicus (talk) 20:10, 28 February 2008 (UTC)

Unsubstantiated comparisons
There is a sentence under "controversial lifestyle change" that contains several unsubstantiated comparisons and includes no citation: His lifestyle was a mixture of elements from various traditions: from the veganism of Hindu philosophy, the non-attachment of Buddhist philosophy, to the monkish traditions of Celtic Christianity. Yes, Drnovsek did become a vegan, but veganism is not promoted by Hinduism. They are in no way connected. Second, what did he do that was "monkish" in a specifically Celtic way? Whoever wrote this sentence just made these things up--unless Drnovsek himself made these claims. I am removing this sentence. --N-k, 12:55, 12 February, 2009 (UTC)

 * I agree with you on the Celitic Christianity stuff (although he might have made some references to it); as for the other information, I think it should be kept. The statement mentions influences from different traditions (both Hindusim and Buddhism are mentioned in his books). As of the question how these attitudes fit together, I think it is not our task to exlain it. Viator slovenicus (talk) 22:38, 12 February 2009 (UTC)

Infobox portrait
There is really no contest. "Personality" is subjective, for example I find his pose to be rather comical and I'm sure I'm not alone in this. Not only that, but I struggle to see how smiling does not show "personality", but a grimace of the face nearly half-obscured with one's own hands is "full of personality".

In short: 1) the old portrait is that of Janez Drnovšek in the middle of a sentence with his face in a grimace; 2) the person's head is not visible entirely; 3) the person's face is obscured in part by his own hands; 4) the person's face is (obviously) too large in proportion to the portrait; 5) There are advertisements visible in the background. Personality? -- DIREKTOR  ( TALK ) 08:08, 23 September 2010 (UTC)
 * Well, the old portrait is used on Slovenian WP, for all articles that deal with Drnovšek. It was a featured picture nominee |here (declined on the basis that it is cut and too low resolution, "personality" is stated at that nom) and the thing in the background is not an advertisement but the logo of the Davos forum. The picture you added is not sharp. I would support a change but with a better photo, not that one. --Tone 08:18, 23 September 2010 (UTC)
 * It certainly seems better in every respect apart from the lower res, and I personally don't think this is such a problem since the infobox uses a pretty low-res image width (its hardly noticeable). I mean the fellow practically looks like a gremlin, whereas his non-middle-of-the-sentence face is perfectly normal and charismatic, not to mention fully visible... -- DIREKTOR  ( TALK ) 08:33, 23 September 2010 (UTC)

"a Le Havre bank"?
What is "a Le Havre bank"? one of the banks that exist ONLY in Le Havre and have no branch anywhere else? A Le Havre branch of some other bank (which one)? — Preceding unsigned comment added by 58.252.196.3 (talk) 17:34, 30 April 2012 (UTC)

External links modified
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 * Added archive https://web.archive.org/20080305035710/http://www.ukom.gov.si:80/eng/slovenia/publications/slovenia-news/4274/4288/ to http://www.ukom.gov.si/eng/slovenia/publications/slovenia-news/4274/4288/

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External links modified
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title: Talk:Janez Drnovšek


text:
Talk:Milan Kučan

Political motivated vandalism?
I removed changes by User:Avala once again. Please see Talk:Janez Drnovsek for reasons. --Romanm 07:49, 2 May 2004 (UTC)

The sam thing I said in Drnovsek talk I will in here. ''What is your problem??? It`s the only question I will ask. That website is publishing daily news so of course you can not see it anymore! Courts that are going to process this are courts of Serbia and courts in Slovenia. I said in 2004. AND AT THE AND IF YOU HEAR SOMETHING FOR THE FIRST TIME, IT DOESN`T MEAN IT IS COMPLETE MADE-UP. I will of course find an article about this and then you will be ashamed and redfaced. Avala 08:32, 2 May 2004 (UTC)

YES I THINK YOUR VANDALISM IS POLITICAL MOTIVATED Here is the picture you need! It is the scan from newspapers! The only thing that you will desperately try to do now is to prove that this scan is copyrighted :( It`s sad what can I say. Avala 08:51, 2 May 2004 (UTC)''

Protection
Sorry, I just realised I accidently protected this earlier. I didn't actually mean to. It's unprotected now. Angela. 20:44, May 2, 2004 (UTC)

WHAT?
What? How is it propaganda if someone sues somebody? It was in the news so stop beeing blind! It is not your problem are they guilty or not! Court will decide! Here we will just put some info whether we like it or not! OK? If you say we should delete this info I will say that you support shooting of 40 unarmed man. It would be like if I delete part of ICTY in Milosevic article and say -NO NO DELETE IT DELETE IT STOP PROPAGANDA Avala 09:10, 3 May 2004 (UTC) BTW GeneralPaton you can call this silly but I don`t understand how can it be silly if 40 people dies?

Cooperation among editors
Please avoid personal remarks like:
 * What is your problem ... stop being blind ... you call this silly ... you will be ashamed
 * you support shooting unarmed men

Then we can see clearly to decide how to handle the claims of mass murder. I know that it's hard "to be calm when you've found something going on," as singer-turned-Muslim Cat Stevens sings. Let's work together to find a way to describe this controversy, instead of just "reverting vandalism". --Uncle Ed, a member of the Mediation Committee and a volunteer Member Advocate.

title: Talk:Milan Kučan


text:
MCC

MCC may refer to:

Aviation

 * McClellan Airfield (IATA code MCC) in Sacramento, California
 * Multi-crew cooperation, allowance to fly in a multi-pilot aircraft

Buildings

 * Castellania (Valletta), a former courthouse and prison in Valletta, Malta
 * Mediterranean Conference Centre, a conference centre in Valletta, Malta
 * Myanmar Convention Centre, a convention centre in Yangon, Myanmar

India

 * Madras Christian College, located in Tambaram, Chennai, India
 * Malabar Christian College, located in Calicut, Kerala State, India
 * M. C. C. Higher Secondary School, Chennai, India
 * Mulund College of Commerce, Mulund, India

United States

 * Macomb Community College in Macomb County, Michigan
 * Madisonville Community College in Madisonville, Kentucky
 * Manchester Community College (Connecticut) in Manchester, Connecticut
 * Manchester Community College (New Hampshire) in Manchester, New Hampshire
 * Manatee Community College in Bradenton, Florida
 * Maricopa County Community College District in Maricopa County, Arizona
 * Marshalltown Community College in Marshalltown, Iowa
 * Massasoit Community College in Norfolk County, Massachusetts
 * Maui Community College in Kahului, Maui, Hawaii
 * McHenry County College in Crystal Lake, Illinois
 * McLennan Community College in Waco, Texas
 * Melbourne Central Catholic High School in Melbourne, Florida
 * Meridian Community College in Meridian, Mississippi
 * Mesa Community College in Mesa, Arizona
 * Mesalands Community College in Tucumcari, New Mexico
 * Metropolitan Community College (Missouri) in Kansas City, Missouri
 * Michigan Christian College, now Rochester Christian University, in Rochester Hills, Michigan
 * Middlesex Community College (Massachusetts) in Lowell and Bedford, Massachusetts
 * Middlesex Community College (Connecticut) in Middletown, Connecticut
 * Middlesex County College in Edison, New Jersey
 * Mitchell Community College in Statesville, North Carolina
 * Mohave Community College in Kingman, Lake Havasu City, Colorado City and Bullhead City, Arizona
 * Monroe Community College in Rochester, New York
 * Mott Community College in Flint, Michigan
 * Muskegon Community College in Muskegon, Michigan

Elsewhere

 * Marian Catholic College, in Griffith, New South Wales, Australia
 * Maritime Christian College, located in Charlottetown, Prince Edward Island, Canada
 * Midlands Christian College located in Gweru, Zimbabwe
 * Mirzapur Cadet College, in Bangladesh
 * Montserrat Community College, in Salem, Montserrat
 * Mathias Corvinus Collegium, in Budapest, Hungary

Commercial

 * Banca del Mezzogiorno – MedioCredito Centrale, an Italian bank
 * China Metallurgical Group Corporation, a state-owned enterprise in China engaged in metallurgy business
 * Manhattan Construction Company, a division of Rooney Holdings Inc., owned by Francis Rooney
 * MetaComCo, a software company
 * Microelectronics and Computer Technology Corporation, an American R&D consortium active in the 1980s and 1990s
 * Middelburgsche Commercie Compagnie, a former Dutch trading company involved in the Atlantic slave trade
 * Mitsubishi Chemical Corporation
 * Mondragón Cooperative Corporation, one of the world's largest worker cooperatives
 * Municipal Code Corporation, a legal publishing company located in Tallahassee, Florida

Governmental

 * Mass Casualty Commission
 * Mysore City Corporation, India
 * Mangalore City Corporation, India
 * Melbourne City Council, Australia
 * Metropolitan Correctional Center, Chicago, United States
 * Metropolitan Correctional Center, New York City, United States
 * Metropolitan Correctional Center, San Diego, United States
 * Metropolitan County Council in the United Kingdom
 * Miaoli County Council, Taiwan
 * Millennium Challenge Corporation, a U.S. government company which aims to reduce poverty through economic growth and investment

Not-for-profit

 * Birmingham Museum Collection Centre, UK
 * Madison Community Cooperative, a Housing cooperative located in Madison, Wisconsin
 * Massachusetts Consumers' Coalition, a consumer rights organization
 * MCC Theater, an Off-Broadway theater company located in New York City
 * Medical Cadet Corps, a Seventh-day Adventist Church program
 * Medical Council of Canada, which regulates medical practitioners
 * Midland Community Center
 * Montana Conservation Corps, an AmeriCorps program
 * Muslim Canadian Congress, a progressive Canadian Muslim organization

Political

 * Maendeleo Chap Chap Party, a Kenyan political party
 * Majority Coalition Caucus, a power-sharing majority in the Washington State Senate
 * Maoist Communist Centre of India, extremist faction
 * Mouvement des Citoyens pour le Changement, a Belgian political party

Religious

 * Mennonite Central Committee, the relief and development agency of the Mennonite and Brethren in Christ Churches in North America
 * Mennonite Church Canada
 * Metropolitan Community Church, an international fellowship of Christian congregations that serve LGBT communities
 * Mission Community Church, an American nondenominational church
 * Missionary Society of the Methodist Church in Canada
 * Muslim Canadian Congress
 * Muslim Community Center, a mosque located in Chicago, Illinois
 * Syro-Malankara Catholic Church, of India

Scientific

 * Microbial Culture Collection, Pune, India, a microbial culture collection centre
 * Mercator Research Institute on Global Commons and Climate Change, a scientific institute based in Berlin, Germany

Biology and medicine

 * 3-Methylcrotonyl-CoA carboxylase deficiency, an inherited metabolic disorder
 * MCC (gene), a candidate colorectal tumor suppressor gene
 * Merkel cell carcinoma, a rare and aggressive cancer of the skin
 * Microcrystalline cellulose
 * Morbus cordis coronarius, the Latin name for Coronary artery disease
 * Mucociliary clearance

Computing

 * MCC Interim Linux, an early Linux distribution
 * Memory chip controller, a digital circuit which manages the flow of data going to and from the computer's main memory
 * Mobile cloud computing, cloud computing in combination with mobile devices
 * Multiversion concurrency control, a computer science term
 * Maximum clade credibility tree

Statistics and machine learning

 * Matthews correlation coefficient, a metric to measure 2 x 2 confusion matrices

Technology

 * Microcrystalline cellulose, excipient in pharmaceutical industry
 * Mission control center, a facility that manages aerospace vehicle flights
 * Mission Control Centre (Cospas-Sarsat), a clearinghouse for distress signals from distress radiobeacons
 * Mobile country code, used in wireless telephone network station addressing
 * Motor control center, an assembly of one or more enclosed sections having a common power bus and principally containing motor control units

Sports

 * Madras Cricket Club in Chennai, India
 * Manchester Canoe Club in Manchester, United Kingdom
 * Marylebone Cricket Club, the home of cricket in the United Kingdom
 * Melbourne Cricket Club in Melbourne, Australia
 * Metro Catholic Conference, a high school athletic conference in St. Louis, Missouri
 * Metropolitan Catholic Colleges Sports Association, an association of catholic schools in Sydney, Australia
 * Michigan Collegiate Conference, former college athletic conference in Michigan
 * Mid-Continent Conference, former name of the NCAA Summit League athletic conference
 * Midwest Collegiate Conference, a National Association of Intercollegiate Athletics conference in Iowa and Wisconsin
 * Midwestern Collegiate Conference, former name of the NCAA Horizon League athletic conference
 * Milwaukee City Conference, a high school athletic conference based in Milwaukee, Wisconsin

Correctional centers

 * Menard Correctional Center near Menard, Illinois
 * Metropolitan Correctional Center, Chicago Federal detention center in Chicago, Illinois
 * Moberly Correctional Center in Moberly, Missouri

Other uses

 * 1200 (MCC), in Roman numerals
 * E = m × c × c, is the equation for mass–energy equivalence
 * Halo: The Master Chief Collection, a collection of first-person shooter titles
 * Merchant category code, assigned to companies accepting credit cards
 * Mesoscale convective complex in meteorology
 * Methode Cap Classique, a South African sparkling wine made by the traditional Champagne method
 * Michelle Caruso-Cabrera, an American journalist and a former political candidate
 * Micro Compact Car, a joint venture launched in 1995 between Mercedes Benz and Swatch; see Smart (automobile)
 * Missile combat crew
 * MC Championship, a Minecraft competition
 * Montreal Comiccon, a comics convention in Montreal, Quebec, Canada
 * Mortgage Credit Certificate, a program to provide tax credits for mortgage interest to first-time homebuyers in the United States
 * Motorcycle club
 * Moscow Central Circle, urban railway line in Moscow
 * Municipal Code of Chicago, the codification of local ordinances of the City of Chicago

title: MCC


text:
The Merv Griffin Show

The Merv Griffin Show is an American television talk show starring Merv Griffin. The series ran on NBC from 1962 to 1963; in first-run syndication from 1965 to 1969 and again from 1972 to 1986; and on CBS from 1969 to 1972.

Series history
After a short run as a daytime show on NBC from October 1, 1962, to March 29, 1963, Merv Griffin launched a syndicated version of his talk show produced by Westinghouse Broadcasting (Group W), which made its debut on May 10, 1965. Intended as a nighttime companion to The Mike Douglas Show and succeeding Steve Allen and Regis Philbin in the time slot, this version of the Griffin program aired in multiple time slots throughout North America (many stations ran it in the daytime, and other non-NBC affiliates broadcast it opposite The Tonight Show Starring Johnny Carson). Stations had the option of carrying either a sixty–minute or a ninety–minute version. Griffin's announcer-sidekick was the veteran British character actor Arthur Treacher, who had been his mentor. After reading off the list of guests for that evening's show, Treacher would introduce Griffin with the phrase: "...and now, here's the dear boy himself, Meeeer-vyn!"

Seeing his strong ratings, CBS offered him a network series opposite the Tonight Show, and his program debuted there on August 18, 1969, with his debut guest lineup consisting of Hedy Lamarr, Ted Sorensen, Leslie Uggams, Moms Mabley, and Woody Allen. Although the series did well enough to quickly force the cancellation of another Carson competitor, ABC's The Joey Bishop Show, it was unable to make much of a dent in Carson's ratings. Furthermore, the network was uncomfortable with the guests Griffin wanted, who often spoke out against the Vietnam War and on other taboo topics. When political activist Abbie Hoffman was Griffin's guest in April 1970, CBS blurred the video of Hoffman so viewers at home would not see his trademark American flag pattern shirt, even though other guests had worn the same shirt in the past, uncensored, and Pat Boone appeared in an automobile commercial on that very broadcast wearing a similar flag-motif shirt.

That same year, Griffin relocated his show from New York's Cort Theatre to CBS Television City in Los Angeles, without sidekick Arthur Treacher, who told him "at my age, I don't want to move, especially to someplace that shakes!". From that point on, Griffin would do the announcing himself, and walk on stage with the phrase: "And now..., here I come!"

However, Griffin's show continued to rank in second place behind Carson, even after the move. By late summer 1971, sensing that his time at CBS was ending, Griffin sought to exit his contract with the network early. CBS would soon agree, and on December 6, 1971, both Griffin and the network announced they were going their separate ways; CBS would replace Griffin with The CBS Late Movie. The following day, Griffin signed a contract with Metromedia and its production arm, Metromedia Producers Corporation (MPC) to continue his program in syndication. The last edition of The Merv Griffin Show on CBS aired February 11, 1972. His new MPC-distributed show began four weeks later, on March 13, 1972, and returned Griffin to late afternoon and late–night time slots. Metromedia also gave Griffin prime time clearances on the company's group of independent stations, which included outlets in New York, Los Angeles, Minneapolis–Saint Paul, Cincinnati and Washington, D.C. Beginning in 1981, The Merv Griffin Show was cut back to one hour in order to accommodate stations who preferred that length over the 90-minute version.

King World Productions (now CBS Media Ventures) took over syndication of the program in 1984; King World was Griffin's syndication partner for Wheel of Fortune and was about to relaunch his other game show Jeopardy! (Metromedia had briefly syndicated the original Jeopardy! a decade prior and would initially provide the studio for the revival). Metromedia's independent stations continued to carry The Merv Griffin Show until they were sold in early 1986 to News Corporation and 20th Century Fox, who used the stations as the nucleus of the Fox Broadcasting Company. As Fox was already setting up its own late-night talk show, The Late Show Starring Joan Rivers, the former Metromedia stations dropped the show soon thereafter. The show was canceled altogether later that year, and aired its final episode on September 5, 1986.

Overview
Griffin's conversational style created the perfect atmosphere for conducting intelligent interviews that could be serious with some and light-hearted with others. Rather than interview a guest for a cursory five or six minute segment, Griffin preferred lengthy, in-depth discussions with many stretching out past 30 minutes. In addition, Griffin sometimes dedicated an entire show to a single person or topic, allowing for greater exploration of his guests’ personality and thoughts.

Griffin’s idea of the perfect show was to have as many diverse guests as possible, from entertainers to scientists, Hollywood glamour to Vegas variety, and from comedians to political leaders. A perfect example lies in an episode from September 1965 which featured the zany comedian Phyllis Diller followed by an interview with Capt. Mitsuo Fuchida, the Japanese navy officer who planned and led the attack on Pearl Harbor in 1941— a truly unique moment in television history.

For over a quarter of a century, more than 25,000 guests appeared on The Merv Griffin Show including numerous significant cultural, political, social and musical icons of the 1960s, 1970s and 1980s. Four American presidents–Richard Nixon, Gerald Ford, Jimmy Carter and Ronald Reagan appeared, as did Martin Luther King Jr., Rosa Parks, Jonas Salk and Robert F. Kennedy. Legendary actors and directors who appeared on the program include Orson Welles, John Wayne, Judy Garland (who took over as guest hostess for Griffin on one program in January 1969, six months before her death), Doris Day (Griffin's longtime friend), Robert De Niro, Tom Cruise, Sophia Loren, George Clooney, Tom Hanks, Gene Wilder, Francis Ford Coppola, Dustin Hoffman, Clint Eastwood and Grace Kelly. Musical performers and composers ranging from Devo to Aretha Franklin with Bobby Vinton, Andrew Lloyd Webber, Marvin Gaye, Merle Haggard, The Bee Gees and Johnny Cash, among others, all guesting. The Merv Griffin Show hosted Whitney Houston’s first TV appearance in 1983. Sports figures interviewed by Griffin on the show include Muhammad Ali, Joe Namath, Roger Maris, Willie Mays and Reggie Jackson. In addition, many of the most important comedians of the era were on the show including early performances by George Carlin, Richard Pryor, Andy Kaufman, Steve Martin, Jerry Lewis, and Jerry Seinfeld, who made his TV debut on the show in 1981. Other notable guests that rarely made TV appearances showed up to talk to Griffin include Maharishi Mahesh Yogi, Andy Warhol, Norman Rockwell and Salvador Dalí.

Griffin's longtime bandleader was Mort Lindsey. Griffin frequently clowned and sang novelty songs with trumpeter Jack Sheldon.

In 2012, Reelin' In the Years Productions started handling all rights to the series on behalf of The Griffin Group. As of February 2014, 1,800 episodes, spanning over 2,000 hours of footage, have been located and preserved for future generations. Episodes of the show have been released on DVDs. Selected edited episodes, distributed by Paul Brownstein Productions, are airing on the GetTV channel.

In popular culture
Seinfeld spoofed the show in Season 9, Episode 6, “The Merv Griffin Show,” in which Cosmo Kramer pretends that he hosts his own talk show using the discarded set from the show, which he sets up in his apartment.

Andy Kaufman's appearance on the show was a feature in the plot of the 1999 biopic Man on the Moon, with Griffin being played by character actor Mike Villani. The movie claims that all guests of the show receive an autographed photo of Griffin, coupons, and Turtle Wax.

The Merv Griffin Show was parodied on Second City Television, with Griffin played by Rick Moranis. The sketches included a crossover with The Andy Griffith Show and a mash-up of 2001: A Space Odyssey and Close Encounters of the Third Kind.

Since making her TV debut on The Merv Griffin Show with the song in June 1983, pop/R&B singer Whitney Houston’s performance of “Home” has been used frequently. The performance is included on Whitney: The Greatest Hits DVD (2000), the DVD version of Houston’s 25th anniversary debut album (2010), “We Will Always Love You: A Grammy Salute to Whitney Houston” (2012), Whitney Houston Live: Her Greatest Performances (2014), and the 2018 docu-film Whitney. The performance is considered one of Houston’s best and her introduction to the music world.

title: The Merv Griffin Show