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The Iron Giant

The Iron Giant is a 1999 American animated science fiction film produced by Warner Bros. Feature Animation and directed by Brad Bird in his directorial debut. It is based on the 1968 novel The Iron Man by Ted Hughes (which was published in the United States as The Iron Giant), and was written by Tim McCanlies from a story treatment by Bird. The film stars the voices of Jennifer Aniston, Harry Connick Jr., Vin Diesel, James Gammon, Cloris Leachman, John Mahoney, Eli Marienthal, Christopher McDonald, and M. Emmet Walsh. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The film's development began in 1994 as a musical with the involvement of the Who's Pete Townshend, though the project took root once Bird signed on as director and hired McCanlies to write the screenplay in 1996. The film was animated using traditional animation, with computer-generated imagery used to animate the Iron Giant and other effects. The understaffed crew of the film completed it with half of the time and budget of other animated features. Michael Kamen composed the film's score, which was performed by the Czech Philharmonic.

The Iron Giant premiered at Mann's Chinese Theater in Los Angeles on July 31, 1999, and was released in the United States on August 6. The film significantly underperformed at the box office, grossing $31.3 million worldwide against a production budget of $50 million, which was attributed to Warner Bros.' lack of marketing and skepticism towards animated film production following the box office failure of Quest for Camelot in the preceding year. Despite this, the film was praised for its story, animation, musical score, characters, the portrayal of the title character and the voice performances of Aniston, Connick, Diesel, Mahoney, Marienthal, and McDonald. The film was nominated for several awards, winning nine Annie Awards out of 15 nominations. Through home video releases and television syndication, the film gathered a cult following and is widely regarded as a modern animated classic, and one of the greatest animated films ever made. In 2015, an extended, remastered version of the film was re-released theatrically, and on home video the following year.

Plot
In October 1957, during the Cold War, an object from space crashes in the ocean just off the coast of Maine and then enters the forest near the town of Rockwell.

The following night in Rockwell, nine-year-old Hogarth Hughes investigates and finds the object, a 50-foot-tall alien robot. Hogarth saves the robot from getting electrocuted while trying to eat the transmission lines of an electrical substation. Hogarth eventually befriends the Giant, discovering him to be docile and curious. When the Giant eats railroad tracks in the path of an oncoming train, the train collides with him and derails. Hogarth leads the Giant away from the area, and discovers the Giant can repair himself. After showing the Giant his collection of comic books, Hogarth compares the Giant to Superman.

The incidents lead paranoid U.S. government agent Kent Mansley to Rockwell. After speaking with Hogarth and Hogarth's widowed mother, Annie, Mansley suspects Hogarth is involved in the incidents and rents a room in Annie's house. Hogarth evades Mansley and leads the Giant to a junkyard owned by beatnik artist Dean McCoppin, who reluctantly agrees to keep the Giant safe. Hogarth and the Giant develop a friendship. After they both witness hunters killing a deer, Hogarth explains the concept of death to the Giant, who becomes distraught.

Mansley discovers evidence of the Giant after finding a photo of him next to Hogarth and summons a U.S. Army contingent to the scrapyard to prove the Giant's existence, but Dean (having been warned by Hogarth earlier) tricks them by pretending that the Giant is a sculpture. Later, while playing with a toy gun, Hogarth inadvertently activates the Giant's defensive system, firing a laser beam in the process. Dean yells at the Giant for nearly killing Hogarth; the saddened Giant runs away, and Hogarth follows him. Dean realizes that the Giant was only acting in self-defense and catches up to Hogarth.

The Giant rescues two boys from falling off a roof, which makes the townspeople realize the Giant is benevolent. Immediately before leaving Rockwell, Mansley spots the Giant and orders the Army to attack the Giant, who is holding Hogarth. The Giant and Hogarth initially evade the military by using the Giant's flight system, but the Giant is shot down and crashes to the ground.

Hogarth is knocked unconscious, and the Giant assumes Hogarth is dead. In fit of rage and grief, the Giant transforms into a war machine and returns to Rockwell. Mansley convinces General Shannon Rogard to prepare a nuclear missile launch from the USS Nautilus because conventional weapons are ineffective against the Giant. Hogarth awakens and returns in time to calm the Giant while Dean clarifies the situation to Rogard.

Rogard is ready to stand down and order the Nautilus to deactivate its primed nuke, but a panicked Mansley snatches Rogard's radio and orders the missile launch. The missile is targeted to hit Rockwell, where it will destroy the town upon impact in the resulting nuclear detonation. Mansley attempts to escape, but the Giant intervenes, and Rogard has Mansley arrested. To save the town, the Giant bids farewell to Hogarth and prepares to intercept the missile. As he flies into the missile's path, the Giant remembers Hogarth's words, "You are who you choose to be," smiles contentedly, and declares himself "Superman" as he collides with the weapon. The missile explodes in the atmosphere, saving Rockwell, its population, and the military forces nearby, while the Giant is presumably destroyed, leaving Hogarth, Dean, Annie, and Rogard devastated.

Months later, Dean and Annie, now a couple, have a chat at a memorial of the Giant made by Dean, standing in Rockwell. Hogarth is given a package from Rogard containing a screw from the Giant, which is the only remnant found. That night, Hogarth finds the screw trying to move on its own and, remembering the Giant's ability to self-repair, happily allows the screw to leave.

The screw joins many other parts as they converge on the Giant's head on the Langjökull glacier in Iceland, and the Giant smiles as he begins reassembling himself.

Voice cast

 * Eli Marienthal as Hogarth Hughes, an intelligent, curious, energetic, and courageous 9-year-old boy with an active imagination. Marienthal's performances were videotaped and given to animators to work with, which helped develop expressions and acting for the character. He is named after author Ted Hughes, who wrote the book that inspired the film, and artist Burne Hogarth.
 * Jennifer Aniston as Annie Hughes, Hogarth's mother, the widow of a military pilot, and a diner waitress.
 * Harry Connick Jr. as Dean McCoppin, a beatnik artist and junkyard owner. Bird felt it appropriate to make the character a member of the Beat Generation, as they were viewed as mildly threatening to small-town values during that time. An outsider himself, he is among the first to recognize the Giant as no threat.
 * Vin Diesel as the Iron Giant, a 50 ft., metal-eating robot. Of unknown origin and created for an unknown purpose, the Giant involuntarily reacts defensively if he recognizes anything as a weapon, immediately attempting to destroy it. The Giant's voice was originally going to be electronically modulated but the filmmakers decided they "needed a deep, resonant and expressive voice to start with", so they hired Diesel.
 * James Gammon as Foreman Marv Loach, a power station employee who follows the robot's trail after it destroys the station.
 * Gammon also voices Floyd Turbeaux, a farmer and friend of Earl Stutz.
 * Cloris Leachman as Karen Tensedge, Hogarth's fourth grade teacher at Redford Elementary School.
 * Christopher McDonald as Kent Mansley, a paranoid federal government agent sent to investigate sightings of the Iron Giant. The logo on his official government car says he is from the "Bureau of Unexplained Phenomena".
 * John Mahoney as General Shannon Rogard, an experienced and level-headed military leader in Washington, D.C., Mansley's superior at the Bureau of Unexplained Phenomena who goes from merely being annoyed and exasperated with Mansley to openly despising him.
 * M. Emmet Walsh as Earl Stutz, a sailor and the first man to see the Giant.

In addition, Ollie Johnston and Frank Thomas voice the train's engineers briefly seen near the start of the film. Johnston and Thomas, who were animators and members of Disney's Nine Old Men, were cited by Bird as inspirations for his career, which he honored by incorporating their voices, likenesses, and first names into the film.

Development
The origins of the film lie in the book The Iron Man (1968), by poet Ted Hughes, who wrote the novel for his children to comfort them in the wake of their mother Sylvia Plath's suicide. In the 1980s, rock musician Pete Townshend chose to adapt the book for a concept album; it was released as The Iron Man: A Musical in 1989. In 1991, Richard Bazley, who later became the film's lead animator, pitched a version of The Iron Man to Don Bluth while working at his studio in Ireland. He created a story outline and character designs but Bluth passed on the project. After a stage musical was mounted in London, Des McAnuff, who had adapted Tommy with Townshend for the stage, believed that The Iron Man could translate to the screen, and the project was ultimately acquired by Warner Bros. Entertainment.

In late 1996, while developing the project on its way through, the studio saw the film as a perfect vehicle for Brad Bird, who at the time was working for Turner Feature Animation developing Ray Gunn. Turner Broadcasting had recently merged with Warner Bros. parent company Time Warner, and Bird was allowed to transfer to the Warner Bros. Animation studio to direct The Iron Giant. After reading the original Iron Man book by Hughes, Bird was impressed with the mythology of the story and in addition, was given an unusual amount of creative control by Warner Bros. This creative control involved introducing two new characters not present in the original book, Dean and Kent, setting the film in America, and discarding Townshend's musical ambitions (who did not care either way, reportedly remarking, "Well, whatever, I got paid"). Bird would expand upon his desire to set the film in America in the 1950s in a later interview:

"The Maine setting looks Norman Rockwell idyllic on the outside, but inside everything is just about to boil over; everyone was scared of the bomb, the Russians, Sputnik — even rock and roll. This clenched Ward Cleaver smile masking fear (which is really what the Kent character was all about). It was the perfect environment to drop a 50-foot-tall robot into."

Ted Hughes, the original story's author, died before the film's release. His daughter, Frieda Hughes, saw the finished film on his behalf and loved it. Townshend, who stayed on as the film's executive producer, enjoyed the final film as well.

Writing
Tim McCanlies was hired to write the script, though Bird was somewhat displeased with having another writer on board, as he wanted to write the screenplay himself. He later changed his mind after reading McCanlies' then-unproduced screenplay for Secondhand Lions. In Bird's original story treatment, America and the USSR were at war at the end, with the Giant dying. McCanlies decided to have a brief scene displaying his survival, stating, "You can't kill E.T. and then not bring him back." McCanlies finished the script within two months. McCanlies was given a three-month schedule to complete a script, and it was by way of the film's tight schedule that Warner Bros. "didn't have time to mess with us" as McCanlies said. The question of the Giant's backstory was purposefully ignored as to keep the story focused on his relationship with Hogarth. Bird considered the story difficult to develop due to its combination of unusual elements, such as "paranoid fifties sci-fi movies with the innocence of something like The Yearling". Hughes himself was sent a copy of McCanlies' script and sent a letter back, saying how pleased he was with the version. In the letter, Hughes stated, "I want to tell you how much I like what Brad Bird has done. He's made something all of a piece, with terrific sinister gathering momentum and the ending came to me as a glorious piece of amazement. He's made a terrific dramatic situation out of the way he's developed The Iron Giant. I can't stop thinking about it."

Bird combined his knowledge from his years in television to direct his first feature. He credited his time working on Family Dog as essential to team-building, and his tenure on The Simpsons as an example of working under strict deadlines. He was open to others on his staff to help develop the film; he would often ask crew members their opinions on scenes and change things accordingly. One of his priorities was to emphasize softer, character-based moments, as opposed to more frenetic scenes—something Bird thought was a problem with modern filmmaking. "There has to be activity or sound effects or cuts or music blaring. It's almost as if the audience has the remote and they're going to change channels," he commented at the time. Storyboard artist Teddy Newton played an important role in shaping the film's story. Newton's first assignment on staff involved being asked by Bird to create a film within a film to reflect the "hygiene-type movies that everyone saw when the bomb scare was happening." Newton came to the conclusion that a musical number would be the catchiest alternative, and the "Duck and Cover" sequence came to become one of the crew members' favorites of the film. Nicknamed "The X-Factor" by story department head Jeffery Lynch, the producers gave him artistic freedom on various pieces of the film's script.

Animation
The financial failure of Warner's previous animated effort, Quest for Camelot, which made the studio reconsider animated films, helped shape The Iron Giant's production considerably. "Three-quarters" of the animation team on that team helped craft The Iron Giant. By the time it entered production, Warner Bros. informed the staff that there would be a smaller budget as well as time-frame to get the film completed. Although the production was watched closely, Bird commented "They did leave us alone if we kept it in control and showed them we were producing the film responsibly and getting it done on time and doing stuff that was good." Bird regarded the trade-off as having "one-third of the money of a Disney or DreamWorks film, and half of the production schedule" but the payoff as having more creative freedom, describing the film as "fully-made by the animation team; I don't think any other studio can say that to the level that we can." A small part of the team took a weeklong research trip to Maine, where they photographed and videotaped five small cities. They hoped to accurately reflect its culture down to the minutiae; "we shot store fronts, barns, forests, homes, home interiors, diners, every detail we could, including the bark on trees", said production designer Mark Whiting.

Bird stuck to elaborate scene planning, such as detailed animatics, to make sure there were no budgetary concerns. The team initially worked with Macromedia's Director software, before switching to Adobe After Effects full-time. Bird was eager to use the then-nascent software, as it allowed for storyboard to contain indications of camera moves. The software became essential to that team—dubbed "Macro" early on—to help the studio grasp story reels for the film. These also allowed Bird to better understand what the film required from an editing perspective. In the end, he was proud of the way the film was developed, noting that "We could imagine the pace and the unfolding of our film accurately with a relatively small expenditure of resources." The group would gather in a screening room to view completed sequences, with Bird offering suggestions by drawing onto the screen with a marker. Lead animator Bazley suggested this led to a sense of camaraderie among the crew, who were unified in their mission to create a good film. Bird cited his favorite moment of the film's production as occurring in the editing room, when the crew gathered to test a sequence in which the Giant learns what a soul is. "People in the room were spontaneously crying. It was pivotal; there was an undeniable feeling that we were really tapping into something," he recalled.

He opted to give the film's animators portions to animate entirely, rather than the standard process of animating one character, in a throwback to the way Disney's first features were created. The exception were those responsible for creating the Giant himself, who was created using computer-generated imagery due to the difficulty of creating a metal object "in a fluid-like manner". They had additional trouble with using the computer model to express emotion. The Giant consist of 7000 parts (the Battle Giant 10,000 parts), and was designed by filmmaker Joe Johnston and refined by production designer Mark Whiting and Steve Markowski, head animator for the Giant. Using software, the team would animate the Giant "on twos" (every other frame, or twelve frames per second) when interacting with other characters, to make it less obvious it was a computer model. Bird brought in students from CalArts to assist in minor animation work due to the film's busy schedule. He made sure to spread out the work on scenes between experienced and younger animators, noting, "You overburden your strongest people and underburden the others [if you let your top talent monopolize the best assignments]." Hiroki Itokazu designed all of the film's CGI props and vehicles, which were created in a variety of software, including Alias Systems Corporation's Maya, Alias' PowerAnimator, a modified version of Pixar's RenderMan, Softimage 3D, Cambridge Animation's Animo (now part of Toon Boom Technologies), Avid Elastic Reality, and Adobe Photoshop.

The art of Norman Rockwell, Edward Hopper and N.C. Wyeth inspired the design. Whiting strove for colors both evocative of the time period in which the film is set and also representative of its emotional tone; for example, Hogarth's room is designed to reflect his "youth and sense of wonder". That was blended with a style reminiscent of 1950s illustration. Animators studied Chuck Jones, Hank Ketcham, Al Hirschfeld and Disney films from that era, such as 101 Dalmatians, for inspiration in the film's animation.

Music
The score for the film was composed and conducted by Michael Kamen, making it the only film directed by Bird not to be scored by his future collaborator, Michael Giacchino. Bird's original temp score, "a collection of Bernard Herrmann cues from '50s and '60s sci-fi films," initially scared Kamen. Believing the sound of the orchestra is important to the feeling of the film, Kamen "decided to comb eastern Europe for an "old-fashioned" sounding orchestra and went to Prague to hear Vladimir Ashkenazy conduct the Czech Philharmonic in Strauss's An Alpine Symphony." Eventually, the Czech Philharmonic was the orchestra used for the film's score, with Bird describing the symphony orchestra as "an amazing collection of musicians". The score for The Iron Giant was recorded in a rather unconventional manner, compared to most films: recorded over one week at the Rudolfinum in Prague, the music was recorded without conventional uses of syncing the music, in a method Kamen described in a 1999 interview as "[being able to] play the music as if it were a piece of classical repertoire." Kamen's score for The Iron Giant won the Annie Award for Music in an Animated Feature Production on November 6, 1999.

Post-production
Bird opted to produce The Iron Giant in widescreen—specifically the wide 2.39:1 CinemaScope aspect ratio—but was warned against doing so by his advisers. He felt it was appropriate to use the format, as many films from the late 1950s were produced in such widescreen formats. He hoped to include the CinemaScope logo on a poster, partially as a joke, but 20th Century Fox, owner of the trademark, refused.

Bird later recalled that he clashed with executives who wished to add characters, such as a sidekick dog, set the film in the present day, and include a soundtrack of hip hop. This was due to concerns that the film was not merchandisable, to which Bird responded, "If they were interested in telling the story, they should let it be what it wants to be." The film was also initially going to be released under the Warner Bros. Family Entertainment banner, the logo which features mascot Bugs Bunny in a tuxedo eating a carrot as seen in the film's teaser trailer. Bird was against this for a multitude of reasons, mainly because he felt that the logo did not fit the tone of the movie, and eventually got confirmation that executives Bob Daley and Terry Semel agreed. Instead, Bird and his team developed another version of the logo to resemble the classic studio logo in a circle, famously employed in Looney Tunes shorts. He credited executives Lorenzo di Bonaventura and Courtney Vallenti with helping him achieve his vision, noting that they were open to his opinion.

According to a report from the time of its release, The Iron Giant cost $50 million to produce with an additional $30 million going towards marketing, though Box Office Mojo later reported its budget as $70 million. It was regarded as a lower-budget film, in comparison to the films distributed by Walt Disney Pictures.

Themes
When he began work on the film, Bird was in the midst of coping with the death of his sister, Susan, who was shot and killed by her estranged husband. In researching its source material, he learned that Hughes wrote The Iron Man as a means of comforting his children after his wife, Sylvia Plath, died by suicide, specifically through the metaphor of the title character being able to re-assemble itself after being damaged. These experiences formed the basis of Bird's pitch to Warner Bros., which was based around the idea "What if a gun had a soul, and didn't want to be a gun?"; the completed film was also dedicated to Hughes and Susan. McCanlies commented that "at a certain point, there are deciding moments when we pick who we want to be. And that plays out for the rest of your life", adding that films can provide viewers with a sense of right and wrong, and expressed a wish that The Iron Giant would "make us feel like we're all part of humanity [which] is something we need to feel." When some critics compared the film to E.T. the Extra-Terrestrial (1982), Bird responded by saying "E.T. doesn't go kicking ass. He doesn't make the Army pay. Certainly you risk having your hip credentials taken away if you want to evoke anything sad or genuinely heartfelt."

Marketing
The Iron Giant was a commercial failure during its theatrical release; consensus among critics was that its failure was, in part, due to lack of promotion from Warner Bros. This was largely attributable to the reception of Quest for Camelot; after its release, Warner would not give Bird and his team a release date for their film until April 1999. After wildly successful test screenings, the studio was shocked by the response: the test scores were their highest for a film in 15 years, according to Bird. They had neglected to prepare a successful marketing strategy for the film—such as cereal and fast food tie-ins—with little time left before its scheduled release. Bird remembered that the studio produced one teaser poster for the film, which became its eventual poster. Brad Ball, who had been assigned the role of marketing the film, was candid after its release, noting that the studio did not commit to a planned Burger King toy plan. IGN stated that "In a mis-marketing campaign of epic proportions at the hands of Warner Bros., they simply didn't realize what they had on their hands."

The studio needed an $8 million opening to ensure success, but they were unable to properly promote it preceding the release. They nearly delayed the film by several months to better prepare. "They said, 'we should delay it and properly lead up to its release,' and I said 'you guys have had two and a half years to get ready for this,'" recalled Bird. Press outlets took note of its absence of marketing, with some reporting that the studio had spent more money on marketing for the intended summer blockbuster Wild Wild West instead. Warner Bros. scheduled Sunday sneak preview screenings for the film prior to its release, as well as a preview of the film on the online platform Webcastsneak.

Home media and television syndication
After criticism that it mounted an ineffective marketing campaign for its theatrical release, Warner Bros. revamped its advertising strategy for the video release of the film, including tie-ins with Honey Nut Cheerios, AOL and General Motors and secured the backing of three U.S. congressmen (Ed Markey, Mark Foley and Howard Berman). Awareness of the film was increased by its February 2000 release as a pay-per-view title, which also increased traffic to the film's website.

The Iron Giant was released on VHS and DVD on November 23, 1999, with a Laserdisc release following on December 6. Warner Bros. spent $35 million to market the home video release of the film. The VHS edition came in three versions—pan and scan, pan and scan with an affixed Giant toy to the clamshell case, and a widescreen version. All of the initial widescreen home video releases were in 1.85:1, the incorrect aspect ratio for the film. In 2000, television rights to the film were sold to Cartoon Network and TNT for $3 million. Cartoon Network showed the film continuously for 24 consecutive hours in the early 2000s for such holidays as the Fourth of July and Thanksgiving.

The Special Edition DVD was released on November 16, 2004. In 2014, Bird entered discussions with Warner Bros. regarding the possibility of releasing The Iron Giant on Blu-ray. On April 23, he wrote on Twitter that "WB & I have been talking. But they want a bare-bones disc. I want better," and encouraged fans to send tweets to Warner Home Video in favor of a Special Edition Blu-ray of the film. The film was ultimately released on Blu-ray on September 6, 2016, and included both the theatrical and 2015 Signature Edition cuts, as well as a documentary entitled The Giant's Dream that covered the making of the film. This version also received a DVD release months earlier on February 16 with The Giant's Dream documentary removed. This film became available on HBO Max on November 1, 2020.

Critical response
The Iron Giant received critical acclaim. On Rotten Tomatoes, the film holds a 96% approval rating based on 142 reviews, with an average rating of 8.20/10. The website's critics consensus reads, "The endearing Iron Giant tackles ambitious topics and complex human relationships with a steady hand and beautifully animated direction from Brad Bird." Metacritic, which uses a weighted average, assigned the film a score of 85 out of 100 based on 29 critics, indicating "universal acclaim". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale. The Reel Source forecasting service calculated that "96–97%" of audiences that attended recommended the film.

Kenneth Turan of the Los Angeles Times called it "straight-arrow and subversive, [and] made with simplicity as well as sophistication," writing, "it feels like a classic even though it's just out of the box." Roger Ebert of the Chicago Sun-Times gave the film 3.5 out of 4 stars, and compared it, both in story and animation, to the works of Japanese director Hayao Miyazaki: "Like the new Japanese animated films, The Iron Giant is happy to be a 'real movie' in everything but live action. There are no cute little animals and not a single musical number: It's a story, plain and simple... It works as a lot of animation does, to make you forget from time to time that these are moving drawings, because the story and characters are so compelling." He concluded that it was "not just a cute romp but an involving story that has something to say." The New Yorker reviewer Michael Sragow dubbed it a "modern fairy tale", writing, "The movie provides a master class in the use of scale and perspective—and in its power to open up a viewer's heart and mind." Time Richard Schickel deemed it "a smart live-and-let-live parable, full of glancing, acute observations on all kinds of big subjects—life, death, the military-industrial complex." Lawrence Van Gelder, writing for The New York Times, deemed it a "smooth, skilled example of animated filmmaking." Joe Morgenstern of The Wall Street Journal felt it "beautiful, oh so beautiful, as a work of coherent art", noting, "be assured that the film is, before anything else, deliciously funny and deeply affecting".

Both Hollywood trade publications were positive: David Hunter of The Hollywood Reporter predicted it to be a sleeper hit and called it "outstanding", while Lael Loewenstein of Variety called it "a visually appealing, well-crafted film [...] an unalloyed success." Bruce Fretts of Entertainment Weekly commented, "I have long thought that I was born without the gene that would allow me to be emotionally drawn in by drawings. That is, until I saw The Iron Giant." Peter Stack of the San Francisco Chronicle agreed that the storytelling was far superior to other animated films, and cited the characters as plausible and noted the richness of moral themes. Jeff Millar of the Houston Chronicle agreed with the basic techniques as well, and concluded the voice cast excelled with a great script by Tim McCanlies. The Washington Post Stephen Hunter, while giving the film 4 out of 5 stars, opined, "The movie — as beautifully drawn, as sleek and engaging as it is — has the annoyance of incredible smugness."

Box office
The Iron Giant opened at Mann's Chinese Theater in Los Angeles on July 31, 1999, with a special ceremony preceding the screening in which a concrete slab bearing the title character's footprint was commemorated. The film opened in Los Angeles and New York City on August 4, 1999, with a wider national release occurring on August 6 in the United States. It opened in 2,179 theaters in the U.S., ranking at number nine at the box office accumulating $5.7 million over its opening weekend. It was quick to drop out of the top ten; by its fourth week, it had accumulated only $18.9 million—far under its reported $50 million budget. According to Dave McNary of the Los Angeles Daily News, "Its weekend per-theater average was only $2,631, an average of $145 or perhaps 30 tickets per showing"—leading theater owners to quickly discard the film. At the time, Warner Bros. was shaken by the resignations of executives Bob Daly and Terry Semel, making the failure much worse. T.L. Stanley of Brandweek cited it as an example of how media tie-ins were now essential to guaranteeing a film's success.

The film went on to gross $23.2 million domestically and $8.1 million internationally for a total of $31.3 million worldwide. Analysts deemed it a victim of poor timing and "a severe miscalculation of how to attract an audience." Lorenzo di Bonaventura, president of Warner Bros. at the time, explained, "People always say to me, 'Why don't you make smarter family movies?' The lesson is, Every time you do, you get slaughtered."

Accolades
The Hugo Awards nominated The Iron Giant for Best Dramatic Presentation, while the Science Fiction and Fantasy Writers of America honored Brad Bird and Tim McCanlies with the Nebula Award nomination. The British Academy of Film and Television Arts gave the film a Children's Award as Best Feature Film. In addition The Iron Giant won nine Annie Awards out of fifteen nominations, winning every category it was nominated for, with another nomination for Best Home Video Release at The Saturn Awards. IGN ranked The Iron Giant as the fifth favorite animated film of all time in a list published in 2010. In 2008, the American Film Institute nominated The Iron Giant for its Top 10 Animated Films list.

Legacy
The film has gathered a cult following since its original release. In 2018, when questioned over social media if there was ever a possibility of a sequel, Bird stated that because the film was considered a financial failure, a sequel was not likely to ever happen, but he also stressed that he considered the story of The Iron Giant to be completely self-contained in the film and saw no need for extending the story.

The Cartoon Network series Mad, did a parody of the movie as well as the film The Iron Lady for their Season 3 premiere entitled The Iron Giant Lady. In the sketch, British prime minister Margaret Thatcher is the Giant and inspires other gynoids to take positions of political power.

In the Season 7 episode of Futurama entitled "Assie Come Home", the Iron Giant's head can be seen in Yuri's chop-shop in Filthytown.

The designers of the 2015 video game Ori and the Blind Forest were guided by inspirations from the film and Disney's The Lion King.

In the Lego Movie spin-off series Unikitty!, the episode entitled "Kaiju Kitty" references the film's climatic moment of the Giant being blown up by the missile.

The Iron Giant appears in Steven Spielberg's 2018 science fiction film Ready Player One. Aech had collected the parts of the Iron Giant, which she later controlled during the Battle of Castle Anorak, where he teams up with Gundam to fight Mechagodzilla. After the Iron Giant sacrifices itself and falls into a pool of lava, it gives a thumbs up to Wade and his crew while it sinks into the lava paying direct homage to the end of Terminator 2: Judgment Day when the T-800 gives the thumbs up to both John & Sarah Connor as it sacrifices itself into the molten steel.

The Iron Giant appears in Malcolm D. Lee's 2021 basketball film Space Jam: A New Legacy. He is among the characters in the Warner Bros. 3000 Entertainment Server-Verse that watches the basketball game between the Tune Squad and the Goon Squad. After the Tune Squad won the game, the Giant shared a fist bump with King Kong.

The Iron Giant appears as a playable character in the fighting game MultiVersus on July 26, 2022, as a part of its "open beta".

The Iron Giant appears in the Teen Titans Go! episode, "Warner Bros. 100th Anniversary". He is among the remains of Blockbuster Island.

Signature Edition
A remastered and extended cut of the film, named the Signature Edition, was shown in one-off screenings across the United States and Canada on September 30, 2015, and October 4, 2015. The edition is approximately two minutes longer than the original cut, and features a brief scene with Annie and Dean in the cafe and the Giant's dream sequence. Both scenes were storyboarded by Bird during the production on the original film, but could not be finished due to time and budget constraints. Before they were fully completed for this new version, they were presented as deleted storyboard sequences on the 2004 DVD bonus features. They were animated in 2015 by Duncan Studio, which employed several animators that worked on the original film, under Bird's supervision. The film's Signature Edition was released on DVD and for digital download on February 16, 2016, with an official Blu-ray release of this cut following on September 6. Along with the additional scenes, it also showcases abandoned ideas that were not initially used due to copyright reasons, specifically a nod to Disney via a Tomorrowland commercial, which was also a reference to his then-recently released film of the same name, and a reference regarding the film being shot with CinemaScope cameras.

On March 14, 2016, coinciding with the release of the Signature Edition, it was announced that The Art of the Iron Giant would be written by Ramin Zahed and published by Insight Editions, featuring concept art and other materials from the film.

title: The Iron Giant


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Norhamshire

Norhamshire was an exclave of County Durham in England. It was first mentioned in 995, when it formed part of the lands of the priory at Lindisfarne. When the lands north of the River Tees were partitioned into Northumberland and County Durham it, along with Bedlingtonshire and Islandshire, stayed under the jurisdiction of Durham despite being north of the River Tyne.

This situation persisted until the Counties (Detached Parts) Act 1844, when it became the Hundred of Norham in Northumberland, to which it had already been united for Parliamentary purposes by the Reform Act 1832. The district originally was the single parish of Norham, which had various townships - the townships became separate civil parishes in 1866. The parishes of Norhamshire were:

 * Cornhill-on-Tweed
 * Duddo
 * Felkington
 * Grindon
 * Horncliffe
 * Loanend
 * Longridge
 * Norham Mains
 * Norham
 * Shoreswood
 * Thornton
 * Twizell

Elwick was also a (detached) township of the parish of Norham but was associated with Islandshire instead.

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

title: Norhamshire


text:
Guy Béart

Guy Béhart-Hasson (16 July 1930 – 16 September 2015), known as Guy Béart, was a French singer and songwriter.

Life and career
Béart was born Guy Béhart-Hasson (originally spelled Béhar-Hassan) in Cairo, Egypt, to a Sephardic Jewish family, that later sought refuge in Lebanon during his childhood. His father's work as an accountant and business consultant saw the family move frequently, leading to a childhood spent in France, Greece, and Mexico, in addition to Egypt. His family settled in Lebanon where he did his secondary studies, between ten and seventeen years old, age at which he obtained his French baccalaureate in elementary mathematics at the International College of Beirut, where his interest in music developed to the point that he left for Paris to study at the "École nationale de musique". In addition to music, he also obtained a degree in engineering.

When his father died in 1952, the young Béhart chose to pursue a career in engineering in order to help support his family, studying at the prestigious École nationale des ponts et chaussées. Simultaneously, however, he enrolled in Paris's École nationale de musique, studying violin and mandolin, and in his spare time wrote songs and worked the Paris cabaret circuit, where he played guitar and sang under the stage name "Guy Béart". When a version of one of his songs by a popular performer of the day became a huge success, demand for his writing talents increased and he composed for Juliette Gréco and others. Taken under the wing of renowned music producer Jacques Canetti and fellow musician Boris Vian, he released an album of his own, which won the prestigious Grand Prix de l'Académie du Disque français in 1958.

Normally shy, Béart initially suffered from stage fright and struggled during his concert debut at the Paris Olympia. His biggest hit came when he wrote the soundtrack of the 1958 motion picture, L'Eau vive (Girl and the River in the USA). The title song of the film is considered a classic of what is known as French chanson. Despite his leap to fame, Béart's singing career was soon swamped by the rising tide of American rock and roll. However, reinventing himself as a host of a television show featuring musical stars from a variety of genres, he remained in the public eye and eventually made a recording comeback.

From his first wife Cécile de Bonnefoy du Charmel he had a daughter, Ève (born 1959). In 1963 he and his second wife, Geneviève Galéa (pseudonym of Geneviève Guillery), had a daughter, Emmanuelle, who would grow up to be an actress.

After Béart's television show ended in 1970, his popularity waned but he continued to record new music that was readily purchased by a loyal following. He was the co-composer of the 1977 Luxembourg entry at the Eurovision Song Contest. By the early 1980s he was almost completely out of the spotlight and, although only in his early fifties, he suffered from a number of serious health problems. In 1987, he published a book about his illness entitled Crazy Hope that, combined with his daughter's success in the blockbuster film Manon of the Spring, brought a resurgence of popularity. More than 25 years after his first appearance at the Paris Olympia, he returned for a series of highly successful performances.

In 1994, Béart was awarded the Grand Prix de l'Académie française in recognition of his achievements over his long career. He continued to perform at a variety of venues around the country and in 1999 did a five-week run at Bobino in Montparnasse that was so popular it allowed for a successful re-release of his double live album recorded at the Olympia.

In the 2000s, he only made rare appearances on stage but many of his songs, of which Béart wrote more than 300 by himself, are still popular with his fans.

Béart died of a heart attack at the age of 85 in Garches, on 16 September 2015.

Albums

 * Studio albums
 * 1957: Guy Béart (or Qu'on est bien)
 * 1958: Guy Béart Volume 2 (or L'Eau vive)
 * 1960: Guy Béart Volume 3 (or Printemps sans amour)
 * 1963: Guy Béart Volume 4 (or Fille d'aujourd'hui)
 * 1965: Qui suis-je? (or Les grands principes)
 * 1966: Vive la rose - Les très vieilles chansons de France
 * 1968: La Vérité
 * 1968: V'là l'joli vent - Les nouvelles très vieilles chansons de France
 * 1969: La Fenêtre
 * 1971: L'Espérance folle
 * 1973: Couleurs du temps
 * 1975: Il fait beau à Paris (compilation with previously unreleased materials)
 * 1976: Chansons de notre temps et d'espérance
 * 1977: Futur- Fiction- Fantastique (compilation with unreleased materials)
 * 1978: Les Nouvelles Chansons
 * 1981: Le beau miroir
 * 1982: Porte-bonheur - Les chansons gaies des belles années
 * 1986: Demain je recommence
 * 1995: Il est temps
 * 2010: Le Meilleur des choses

 * Live albums
 * 1974: À l'université (double album)
 * 1977: À la Comédie des Champs-Élysées (triple album)
 * 1999: En public (double CD)

 * Compilation albums
 * 2010: Best of (triple CD)
 * 2014: Chansons éternelles de France

Songs
(Alphabetical order)

 * À Amsterdam (1976)
 * À côté (1971)
 * À la claire fontaine (1968)
 * Ah ! quelle journée (1974)
 * Allô... tu m'entends (1965)
 * Alphabet (1963)
 * Anachroniques (1967)
 * Amour passant (2010)
 * Années-lumière (1967)
 * Assez (1978)
 * Au bout du chemin (1962)
 * Aux marches du palais (1966)
 * Bagatelle-Puteaux (1975)
 * Bal chez Temporel (1958)
 * Battez-les (1960)
 * Belle harmonie (1976)
 * Bête à rêver (1971)
 * Blanche biche (1968)
 * Bonne année bonne chance (avec Dominique Dimey, 1980)
 * Brave marin (1966)
 * C'est après que ça se passe (1973)
 * Ça n'va guère (1968)
 * Ça pourra s'arranger (2010)
 * Ça qu'est bien (2010)
 * Caroline (1982)
 * Carthagène (1964)
 * Ce n'est pas parce que (1969)
 * Cercueil à roulettes (1965)
 * Ceux qui s'aiment (1972)
 * Chahut-bahut (1969)
 * Chandernagor (1958)
 * Chanson pour ma vieille (1958)
 * Cinéma (1963)
 * Combien je t'aime (1981)
 * Comme les autres font (1968)
 * Contrebandier du ciel
 * Couleurs (1968)
 * Da roghi
 * Dans les journaux (1963)
 * Dans regrettable (1958)
 * De la lune qui se souvient ? (1965)
 * Demain je recommence (1986)
 * Disparaît (1995)
 * Dominique (1986)
 * Douce (1963)
 * Émile s'en fout (1986)
 * En baignoire (1960)
 * En marchant (1969)
 * En marge (1971)
 *  (1982 ; remake of Delormel & Garnier/Desormes, 1886, created by Paulus)
 * Encore un été (1963)
 * Entre chien et loup (1969)
 * Entre-temps ramait d'Aboville (1992)
 * Escalier B (1969)
 * Et moi je m'enfoui-foui (1966)
 * Et puisqu'en tout cas on est malheureux (1965)
 * Étoiles, garde-à-vous (1968)
 * Feuille vole (1965)
 * Fille d'aujourd'hui (1963)
 * Flani-flânons (1971)
 * Fleur d'épines (1968)
 * Frantz (avec Marie Laforêt, 1964)
 * Gentils vieillards (1973)
 * Grenades grenades (1960)
 * Grenouille de l'étang (1960)
 * Havane (1975)
 * Hôtel Dieu (1968)
 * Idéologie (1978)
 * Il est temps (1995)
 * Il fait beau à Paris (1975)
 * Il fait toujours beau quelque part (1967)
 * Il faut avoir été (2010)
 * Il n'y a plus d'après (1960)
 * Il ne faut pas beaucoup (1995)
 * Il y a plus d'un an (1958)
 * Il y a si longtemps que je rôde (1965)
 * J'ai mis (1969)
 * J'ai retrouvé le pont du nord (1969)
 * J'erre, j'erre (1976)
 * Je connais une blonde (1982)
 * Je me suis engagé (1968)
 * Je ne sais jamais dire non (1962)
 * Je vais au Burkina Faso (2010)
 * Julie (1976)

 * L'agent double (1958)
 * L'alouette (1978)
 * L'amour de moy (1966)
 * L'âne (1958)
 * L'autoroute en bois (1973)
 * L'avenir c'était plus beau hier (1977)
 * L'eau vive (1958)
 * L'espérance folle (1971)
 * L'histoire sans histoire (1973)
 * L'ile aux jaloux (1995)
 * L'insouciance des jours (1965)
 * L'obélisque (1958)
 * L'oxygène (1958)
 * La Baya (1982)
 * La belle au jardin (1968)
 * La bohème (1968)
 * La bombe à neu-neu (1978)
 * La brave fille (1974)
 * La bureaucrate (1978)
 * La chabraque (1960, paroles de Marcel Aymé)
 * La chaloupe à l'eau (1966)
 * La dame au p'tit chien (1965)
 * La danse du temps (1978)
 * La fenêtre (1969)
 * La fille aux yeux mauves (1971)
 * La gambille (1975)
 * La grève du rêve (1981)
 * La guerre va chanter (1986)
 * La lune est verte (1969)
 * La maison tranquille (1971)
 * La Mattchiche (1982)
 * La même éthique (1976)
 * La télé (1965)
 * La tour de Babel (1992)
 * La valse brune (1982)
 * La vénus mathématique (1969)
 * La vérité (1968)
 * La vie conjugale (avec Christiane Canavese, 1964)
 * La vie va (1976)
 * Laine la blanche (1995)
 * Laisse parler le silence (1980)
 * Laura (1958)
 * Le beau miroir (1981)
 * Le bienfait perdu (1986)
 * Le bon Zeus (1986)
 * Le chapeau (1958)
 * Le cœur en miettes (1973)
 * Le conscrit du Languedoc (1966)
 * Le fils du renard (1968)
 * Le grand chambardement (1968)
 * Le groupe (1971)
 * Le jardin d'Elvire (1960, paroles de Marcel Aymé)
 * Le mariage (1961)
 * Le matin, je m'éveille en chantant (1960)
 * Le meilleur des choses (2010)
 * Le messie (1976)
 * Le miracle vient de partout (1976)
 * Le monsieur et le jeune homme (1963)
 * Le mur de ma vie privée (1995)
 * Le petit voeuf (1973)
 * Le pont de Nantes (1966)
 * Le prince fainéant (1967, paroles de Victor Hugo)
 * Le quidam (1958)
 * Le rendez-vous (1964)
 * Le roi a fait battre tambour (1966)
 * Le sesque (1973)
 * Le sort des matelots (1966)
 * Le terrien (1958)
 * Le train pour avant-hier (1969)
 * Le trou dans le seau (avec Dominique Grange, 1965)
 * Le voyageur de rayons (1968)
 * Les amours tranquilles (2010)
 * Les bras d'Antoine (1962)
 * Les collines d'acier (1968)
 * Les couleurs du temps (1973)
 * Les éléphants (1958)
 * Les enfants de bourgeois (1976)
 * Les enfants sages (1960)
 * Les enfants sur la lune (1968)
 * Les fleurs de mon jardin (1971)
 * Les grands principes (1965)
 * Les mots (1986)
 * Les parapluies (1981)
 * Les pas réunis (1960)

 * Les pouvoirs (1981)
 * Les prénoms jolis (1995)
 * Les proverbes d'aujourd'hui (1973)
 * Les souliers (1965)
 * Les temps étranges (1963)
 * Les temps sont doux (1973)
 * Les tristes noces (1966)
 * Liban libre libre Liban (1989)
 * Lo papel (1973)
 * Lune ma banlieue (1971)
 * Ma mère je le veux (1968)
 * Magazines (1963)
 * Mandrin (1968)
 * Moitié toi moitié moi (1958)
 * Mon amour mon amour (1981)
 * Mon Paris (1982)
 * Mou doux flou (1981)
 * Mourir en vacances (1978)
 * Ne tirez pas le diable (1960, paroles de Marcel Aymé)
 * O Jéhovah (1986)
 * On ne manque de rien (1971)
 * Où sont maintenant ? (1986)
 * Où vais-je ? (1978)
 * Paix à la guerre (2010)
 * Paris au mois d'août (1970)
 * Parlez-moi d'moi (avec Jeanne Moreau, 1980)
 * Parodie (1973)
 * Pierrot la tendresse (1974)
 * Pique sur tes ficelles (2010)
 * Pleure Paule pleure (1981)
 * Plus jamais (1962)
 * Porte-bonheur (1982)
 * Poste restante (1958)
 * Printemps sans amour (1960)
 * Qu'il est dur d'aimer (1995)
 * Qu'on est bien (1958)
 * Quand au temple (1966)
 * Quand les lilas refleuriront (1982)
 * Quand on aime, on a toujours raison (1969)
 * Quand un homme (1962, duo avec Christiane Canavese)
 * Que diable (1978)
 * Que j'aime (1971)
 * Qui est con ? (1995)
 * Qui suis-je ? (1965)
 * Retrouver l'aventure (1995)
 * Rotatives (1968)
 * Sac à malices (1960, duo avec Christiane Canavese))
 * Saute au paf (1975)
 * Seigneurs du vent (1995)
 * Seine, va (1964)
 * Sérénade à madame (1958)
 * Ses meilleurs amis (1986)
 * Si je t'ai jetée (2010)
 * Si la France (1981)
 * Stances à Cassandre
 * Suez (1963)
 * Tant de sueur humaine (1967)
 * Télé Attila (2010)
 * Téléphonez-moi quand même (2010)
 * Tiens tiens (1971)
 * Totole (1970)
 * Tourbillonnaire (1976)
 * Tout comme avant (1968)
 * Tout finit à St-Tropez (1965)
 * Trouilletulaire (1981)
 * Un enfant écrit (1964)
 * Une autre que toi (1978)
 * V'la l'joli vent (1968)
 * Vieille misère (1978)
 * Viens poupoule (1982)
 * Vive la rose (1966)
 * Vous (1958)
 * Y a pas papa (1995)

title: Guy Béart


text:
Pompeiopolis

Pompeiopolis (Πομπηιούπολις, city of Pompeius) was a Roman city in ancient Paphlagonia, identified in the early 19th century with the ruins of Zımbıllı Tepe, located near Taşköprü, Kastamonu Province in the Black Sea Region of Turkey. The exact location is 40 km north-east of Kastamonu and a short distance across the river from modern Taşköprü, in the valley of the Gökırmak or Gök River (Αμνίας, Amnías). The borders of Pompeiopolis reached the Küre mountains to the north, Ilgaz mountains to the south, Halys river to the east and Pınarbaşı valley to the west.

Pompeiopolis was one of the seven cities founded by the Roman general Pompey the Great along the fluvial plains of Iris, Halys and Amnias in 64/63 BC, when he conquered the Pontic Kingdom in Northern Anatolia and incorporated the region into the new Roman double province of Bithynia-Pontus. It was later assigned by Mark Antony to the vassal princes of Paphlagonia, and in 6/5 BC was re-integrated into the Roman Empire and placed under the governor of the province of Galatia. During its peak in the 2nd Century AD the city was capital of the Roman Province Paphlagonia as some inscriptions on stone and coins bear the title "Metropolis of Paphlagonia". During the imperial era, several families from Pompeiopolis rose to the imperial aristocracy, such as those of Gaius Claudius Severus (consul suffectus in AD 112), Gnaeus Claudius Severus Arabianus (consul in AD 146) and Gnaeus Claudius Severus (consul in AD 173) and possibly Tiberius Claudius Subatianus Aquila (praefectus of Egypt in AD 206–211) and Tiberius Claudius Subatianus Proculus (governor of Numidia in AD 208–210). Being a bishopric since the early 4th century at latest, Pompeiopolis received the title of autocephalous archdiocese at some time during the reign of Justinian I. Within the church province of Paphlagonia, Pompeiopolis always ranked immediately after Gangra, and above the other bishoprics. This region was conquered by the invading Turks in the early 13th century. In the 10th/11th century, Pompeiopolis was a metropolitan see until the 14th century, when this diocese was suppressed. Among the fourteen known titular holders of the Christian diocese are Philadelphus at the First Council of Nicaea, Severus of Constantinople and Theodore of Constantinople. The bishopric of Pompeiopolis in Paphlagonia is included in the Catholic Church's list of titular sees. In the early 13th century, Pompeiopolis fell under the Seljuk rule and its name changed to Taşköprü (Stone Bridge).

In 2006, an international project for a holistic investigation of Pompeiopolis was initiated with extended surveys and goal-oriented excavations. Since 2017 the Kastamonu Museum is carrying out the annual excavations and conservation activities for the touristic development of the site. Although no remains were visible on the surface in 2005, a systematic geophysical survey over Zımbıllı Tepe detected the outline of a large city with roads, public buildings, and two theaters that were successively archaeologically investigated. The excavations in the major theatre unearthed the lowest marble seat rows as well as inscribed architraves with decorated friezes from the scaenae frons. From the inscription, it is understood that at least the stage was built around AD 150. The theatre was dismantled within the 5th century. Scarce remains of an octagonal building were previously identified as the tholos of a macellum, while few Christian graves excavated in 2016 in this area have suggested a later use as a church of the octagonal building.

A multiphase Roman domus at the north-eastern foot of Zımbıllı Tepe was first discovered in 1984 by a rescue intervention of the Museum of Kastamonu and reopened in 2006-2008 by the German team. This grand-house occupies a whole block within a network of orthogonal roads that organize the urban plan of this part of the city. The north-eastern blocks were built around the mid-3rd century AD and were progressively deserted since the beginning of the 7th century, with few episodes of partial reoccupation recorded until the 12th century. The grand-house is 2550 square metres wide, its layout is organized around a central peristyle and the northern side is provided by an honour court with direct accesses to wealthy reception rooms decorated with opus sectile wall revetments and mosaic floors. At least four rooms were equipped with a hypocaust heating system. The extensive excavation of the grand-house, still in progress, is accompanied by a systematic conservation program financed by the Meda Foundation, aimed at preserving and developing the monument into a public archaeological area with the involvement of local expertise and stakeholders.

It is argued that Pompeiopolis was founded to take over the administrative function of the Hellenistic fortress Pimolisa located in today´s Boyabat which was abandoned and destroyed in the aftermath of the Mithridatic Wars. Although no architectural remains in hitherto excavated areas can yet be assigned to the early phase of the city several coin-finds from this period leave no doubt about the localization of Pompeiopolis on the Zımbıllı Tepe. The stone bridge which spans the Amnias River (Gökirmak)linked the Roman period urban center on the Zımbıllı Tepe with the opposite riverbank where the farmlands of the city were situated. The city center was gradually moved to the floodplain at the southern riverbank during the early Byzantine period. The Byzantine Pompeiopolis is covered today by Taşköprü where building remains and finds are observed in the construction pits of the underground car park of Cumhuriyet Meydanı. The excavated archaeological finds are exhibited or stored in the Museum of Archaeology of Kastamonu. A small museum adjacent to the excavation house, created in 2014, exhibits stone monuments like inscriptions, architectural elements, grave stelae from the city. The municipal history museum in Taşköprü established in 2017 presents some hypothetical digital reconstructions of the city´s lost appearance alongside objects from the younger history of Taşköprü.

title: Pompeiopolis


text:
Alquist Priolo Special Studies Zone Act

The Alquist-Priolo Earthquake Fault Zoning Act was signed into California law on December 22, 1972, to mitigate the hazard of surface faulting to structures for human occupancy.

The act in its current form has three main provisions:

1) It directs the state's California Geological Survey agency (then known as the California Division of Mines and Geology) to compile detailed maps of the surface traces of known active faults. These maps include both the best known location where faults cut the surface and a buffer zone around the known trace(s);

2) It requires property owners (or their real estate agents) to formally and legally disclose that their property lies within the zones defined on those maps before selling the property; and

3) It prohibits new construction of houses within these zones unless a comprehensive geologic investigation shows that the fault does not pose a hazard to the proposed structure.

The act was one of several that changed building codes and practices to improve earthquake safety. These changes are intended to reduce the damage from future earthquakes.

Background
This state law was a direct result of the 1971 San Fernando earthquake (also called the 'Sylmar Earthquake'), which was associated with extensive surface fault ruptures that damaged numerous homes, commercial buildings, and other structures. Surface rupture is the most easily avoided seismic hazard.

In January 1972, Governor Ronald Reagan established the Governor’s Earthquake Council as a reaction to the Sylmar quake, whose recommendations led to the act. It went into effect on March 7, 1973. The law was amended a few years later to include a disclosure obligation for real estate licensees. The act was called the Alquist-Priolo State Special Studies Zone Act prior to 1994. The act was amended September 26, 1974; May 4, 1975; September 28, 1975; September 22, 1976; September 27, 1979; September 21, 1990; and July 29, 1991.

Earthquake hazards
Earthquakes happen when two blocks of the Earth's crust move relative to one another. The place where the blocks meet is called a fault, and faults tend to show up as relatively straight lines on maps. Any structure built directly on top of the fault will be torn in two when the blocks move. Constructing a building to withstand this sort of movement (often several feet in a matter of seconds) is not practical, so it is best to avoid building directly on top of an active fault.

The law requires the California State Geologist to establish regulatory zones (known as Earthquake Fault Zones) around the surface traces of active faults and to issue appropriate maps. ("Earthquake Fault Zones" were called "Special Studies Zones" prior to January 1, 1994.) The maps are distributed to all affected cities, counties, and state agencies for their use in planning and controlling new or renewed construction. Local agencies must regulate most development projects within the zones.

Limitations
Buildings built before 1972 may still lie on top of active faults, and those buildings can remain where they were originally built, unless they undergo a major remodel where more than 50% of the building changes. When that happens, they are treated the same as new construction (a geologic investigation must be undertaken and the hazard mitigated before a building permit can be issued). Projects include all land divisions and most structures for human occupancy. Single family wood-frame and steel-frame dwellings up to two stories not part of a development of four units or more are exempt. However, local agencies can be more restrictive than state law requires.

While the act mandates that owners disclose the fact that their property lies within the Alquist-Priolo zone when they sell it, there are no legal requirements to disclose the fact to renters living on the property. Renters should investigate the location of active faults on their own before signing a lease or rental agreement.

Legally, the act only applies to structures for human occupancy (houses, apartments, condominiums, etc.). However, the official geologic maps delineating the fault zones are used to help place a variety of structures on safe ground. For example, the Belmont Learning Center, a large school complex in Downtown Los Angeles was complicated by the discovery of a surface fault on the property in 2002. The Los Angeles Unified School District was required to remove a building that had been built directly atop the fault prior to its discovery.

The act only addresses the hazard of surface fault rupture and does not address other earthquake hazards. The Seismic Hazards Mapping Act, passed in 1990, addresses non-surface fault rupture earthquake hazards, including liquefaction and seismically induced landslides. The act only applies to faults which are "sufficiently active" and "well defined"- for example the 1994 Northridge earthquake occurred on a blind thrust fault not zoned by the act because of a lack of surface evidence.

title: Alquist Priolo Special Studies Zone Act


text:
Norham

Norham is a village and civil parish in Northumberland, England. It is 7 mi south-west of Berwick on the south side of the River Tweed where it is the border with Scotland.

History
Its ancient name was Ubbanford. Ecgred of Lindisfarne (d.845) replaced a wooden church with one of stone and translated the relics of St Ceolwulf to it. Norham is mentioned as the resting place of St Cuthbert in the early eleventh century text On the Resting-Places of the Saints, and recent research has suggested the possibility that Norham (rather than Chester-le-Street or Durham) may have been the centre of the diocese of Lindisfarne from the ninth century until some time between 1013 and 1031.

It is the site of the 12th-century Norham Castle and was for many years the centre of the Norhamshire exclave of County Durham. It was transferred to Northumberland in 1844.

The 12th century also saw the construction of the parish church of St Cuthbert, an ambitious work with an aisled nave and long chancel, heavily rebuilt in 1846-52. As may be expected from a possession of the bishops of Durham, the details echo contemporary work in Durham Cathedral.

It was on the Tweed here that Edward I of England met the Scots nobility in 1292 to decide on the future king of Scotland.

Sir Walter Scott gained fame as a poet, particularly with Marmion set around the Battle of Flodden in 1513. It begins:

 * Day set on Norham's castled steep,
 * And Tweed's fair river, broad and deep,
 * And Cheviot's mountains lone:
 * The battled towers, the donjon keep,
 * The loophole grates where captives weep,
 * The flanking walls that round it sweep,
 * In yellow lustre shone.

The 19th-century Ladykirk and Norham Bridge is a late stone road bridge that connects the village with Ladykirk in the Scottish Borders. J. M. W. Turner reportedly tipped his hat to Norham Castle in 1831, as it was the place that had brought him fame as an artist in 1798. It was a subject he revisited throughout his career. The painting of the castle that hangs in Tate Britain, Norham Castle, Sunrise (1845), luminously near-abstract, is one of the great treasures of the collection.

Norham railway station, built 1851, closed in 1965 and was turned into a museum by its final station master, Peter Short. In 2013 it was up for sale at an asking price of £420,000.

Governance
An electoral ward in the name of Norham and Islandshires exists. This ward stretches south east to just short of Bamburgh and has a total population taken at the 2011 Census of 4,438.

Popular culture
Norham appears, under the name of Ubbanford, in The Bernicia Chronicles series of historical novels by Matthew Harffy, where it is the residence and seat of power of the series' protagonist, Beobrand.

title: Norham


text:
La Goulue

La Goulue (, meaning The Glutton), was the stage name of Louise Weber (12 July 1866 – 29 January 1929), a French can-can dancer who was a star of the Moulin Rouge, a popular cabaret in the Pigalle district of Paris, near Montmartre. Weber became known as La Goulue because as an adolescent, she was known for guzzling cabaret patrons' drinks while dancing. She also was referred to as the Queen of Montmartre.

Childhood
Very little is known about her early childhood, but it is believed that Louise Weber was born into a Jewish family from Alsace that eventually moved to Clichy, Hauts-de-Seine, near Paris. Her mother worked in a laundry. As an impoverished young girl who loved to dance, Weber is said to have enjoyed dressing up in laundry customers' expensive clothing and pretending to be a glamorous star on a great stage. At age 16, she was working with her mother in the laundry, but behind her mother's back began sneaking off to a dance hall dressed in a customer's "borrowed" dress.

Early career

Dancing at small clubs around Paris, Weber quickly became a popular personality, liked for both her dancing skills and her charming, audacious behavior. In her routine, she would tease the male audience by swirling her raised dress to reveal the heart embroidered on her knickers and would do a high kick while flipping off a man's hat with her toe. Because of her frequent habit of picking up a customer's glass and quickly downing its contents while dancing past his table, she was affectionately nicknamed La Goulue (The Glutton). Eventually she met the Montmartre painter Pierre-Auguste Renoir, who introduced her to a group of models who earned extra money posing for the community's artists and photographers. Achille Delmaet, husband of Marie Juliette Louvet, would later find fame as the photographer who had taken many nude photographs of La Goulue.

Star of the Moulin Rouge
Louise Weber was taken under the wing of Jacques Renaudin (1843–1907), a wine merchant who danced in his spare time under the stage name Valentin le Désossé. They danced at the renowned Moulin Rouge in Montmartre when it first opened, performing an early form of the cancan known as the chahut. The two were instant stars, but it was Weber who stole the show with her outrageously captivating conduct. Booked as a permanent headliner, La Goulue became synonymous with the can-can and the Moulin Rouge nightclub. The toast of Paris and the highest paid entertainer of her day, she became one of the favorite subjects for Henri de Toulouse-Lautrec, immortalized by his portraits and posters of her dancing at the Moulin Rouge. Her best friend was La Môme Fromage (The Cheesy Girl), another famous cancan dancer at the Moulin Rouge. They were so close that people called them sisters.

Decline
Having achieved both fame and fortune, Weber decided to part company with the Moulin Rouge in 1895 and strike out on her own. She invested a considerable amount of money into a show that travelled the country as part of a large fair; but her fans who had lined up to buy tickets at the Moulin Rouge did not take to the new setting, and her business venture turned into a dismal failure. Following the closure of her show, La Goulue disappeared from the public eye. Suffering from depression, she drank heavily and dissipated the small fortune she had accrued while dancing.

Alcoholic and destitute, La Goulue returned to Montmartre in 1928. She eked out a living selling peanuts, cigarettes, and matches on a street corner near the Moulin Rouge; few recognized the severely overweight and haggard former Queen of Montmartre. She died a year later at age 62 in the 10th arrondissement of Paris and was buried in the Cimetière de Pantin in the Paris suburb of Pantin, but later her remains were transferred to the Cimetière de Montmartre.

Cultural references

 * 1889/90. Painting. Georges Seurat. Le Chahut. Oil on canvas. Kröller-Müller Museum, Otterlo, Netherlands.
 * 1891. Poster. Henri de Toulouse-Lautrec. Moulin Rouge: La Goulue. Color lithograph. Approximate print run: 3,000 copies.
 * 1934. Ballet. Bar aux Folies-Bergère''. Choreography by Ninette de Valois. Music by Emmanuel Chabrier. Created for Ballet Rambert, London, with Alicia Markova as La Goulue and Frederick Ashton as Valentin le Désossé.
 * 1950. Novel. Pierre La Mure. Moulin Rouge. Based on the life of Henri de Toulouse-Lautrec. New York Random House.
 * 1952. Film. Moulin Rouge. Directed by John Huston. Romulus Films. A biography of Henri de Toulouse-Lautrec, with Katherine Kath as La Goulue and Walter Crisham as Valentin le Désossé.
 * 1955. Film. French Cancan. A fictionalized history of the Moulin Rouge, written and directed by Jean Renoir and starring Jean Gabin. Franco London Films. With Françoise Arnoul as La Goulue and Philippe Clay as Valentin le Désossé, called Nini and Casimir le Serpentin in the film.

title: La Goulue


text:
Salmon Bay Bridge

The Salmon Bay Bridge, also known as Bridge 6.3 on the BNSF railroad, formerly Bridge No. 4 on the Great Northern Railroad, is a Strauss Heel-trunnion single-leaf bascule bridge spanning Salmon Bay and connecting Magnolia/Interbay to Ballard in Seattle, Washington. The bridge is located just west of Commodore Park. It carries the main line of the BNSF Railway, the Scenic Subdivision, on its way north to Everett and south to King Street Station and Seattle's Industrial District.

The Salmon Bay Bridge, which is located west of the Hiram M. Chittenden Locks, is the last bridge to span the Lake Washington Ship Canal before it becomes Puget Sound. Built in 1914 by the Great Northern Railway, it has an opening span of 61 m and has two tracks. Additionally, vessel clearance when lowered is 13.1 meters (43 feet) at mean high tide, and up to 15.3 meters (50 feet) at low tide.

BNSF Railway initially planned to replace the Salmon Bay Bridge with a new vertical-lift bridge, but chose to repair failing components of the existing bridge following consultation with the local community. In September 2022, the federal government issued a US$25 million dollar grant to fund mechanical upgrades, while BNSF contributed another $70 million dollars toward the effort.

title: Salmon Bay Bridge


text:
Talk:Darwin–Wedgwood family

precis
This page has the intention pulling together the disparate pages on the members of the family. I've centred it on Darwin, though Galton perhaps could have his children too. I think however, I need another perspective on this, so anyone watching! Dunc_Harris|☺ 18:48, 19 Jul 2004 (UTC)

William Darwin Fox needs mentioning somewhere too.

Josiah and Sarah Wedgwood cousinage
Currently described as "distant cousins". I note that describes them as third cousins. Erp (talk) 23:33, 2 June 2024 (UTC)

title: Talk:Darwin–Wedgwood family


text:
Wikipedia:Articles for deletion/SCSI voodoo

SCSI voodoo was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE

A mediocre joke from the FOLDOC. Found by browsing "ancient pages". Not really funny or remarkable enough to get included as joke. Pjacobi 18:48, 19 Jul 2004 (UTC) This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.
 * Delete: Yeah, we all have trouble with SCSI.  There are better jokes. Geogre 19:17, 19 Jul 2004 (UTC)
 * I'd leave this one to the Jargon File maintainers - it's not as if Wikipedia is short on content. Delete; a firm blow to the side of the case solves most hardware problems anyway. Ianb 21:45, 19 Jul 2004 (UTC)
 * Delete for the same reason we don't mirror the Jargon File here. --Ardonik 03:08, Jul 20, 2004 (UTC)
 * Delete. Not funny. Rather dangerous: Trying to collect the ingredients for the listed recipe will get you either in trouble with the R.S.P.C.A. or arrested for suspected paedophilia. --Palapala 08:28, 2004 Jul 20 (UTC)
 * Wave a dead chicken at it and delete. -- Cyrius|✎ 01:48, 23 Jul 2004 (UTC)


text:
Jude the Apostle

Jude (Ἰούδας Ἰακώβου translit. Ioúdas Iakóbou; Syriac/Aramaic: ܝܗܘܕܐ translit. Yahwada) was one of the Twelve Apostles of Jesus according to the New Testament. He is generally identified as Thaddeus (Θαδδαῖος; Թադեոս; ⲑⲁⲇⲇⲉⲟⲥ) and is also variously called Judas Thaddaeus, Jude Thaddaeus, Jude of James, or Lebbaeus. He is sometimes identified with Jude, the brother of Jesus, but is clearly distinguished from Judas Iscariot, the disciple who betrayed Jesus prior to his crucifixion. Catholic writer Michal Hunt suggests that Judas Thaddaeus became known as Jude after early translators of the New Testament from Greek into English sought to distinguish him from Judas Iscariot and subsequently abbreviated his forename. Most versions of the New Testament in languages other than English and French refer to Judas and Jude by the same name.

The Armenian Apostolic Church honors Thaddeus along with Saint Bartholomew as its patron saints. In the Catholic Church, he is the patron saint of desperate cases and lost causes.

Jude is commonly depicted with a club. He is also often shown in icons with a flame around his head. This represents his presence at Pentecost, when he received the Holy Spirit with the other apostles. Another common attribute is Jude holding an image of Jesus, known as the Image of Edessa. In some instances, he may be shown with a scroll or a book (the Epistle of Jude) or holding a carpenter's rule.

New Testament
Jude is clearly distinguished from Judas Iscariot, another apostle and later the betrayer of Jesus. Both Jude and Judas are translations of the name Ὶούδας in the Koine Greek original text of the New Testament, which in turn is a Greek variant of Judah (Y'hudah), a name which was common among Jews at the time. In most Bibles in languages other than English and French, Jude and Judas are referred to by the same name.

Aside from Judas Iscariot, the New Testament mentions Jude or Judas six times, in four different contexts:
 * 1) "Jude of James", one of the twelve apostles ( and );
 * 2) "Judas, (not Judas Iscariot)", apparently an apostle ;
 * 3) the brother of Jesus ;
 * 4) the writer of the Epistle of Jude, who identifies himself as "the brother of James".

Protestants generally believe 1 and 2 to be one person, although theologian Raymond Brown saw the identification as uncertain.

Brother of James or son of James?
Translations into English from the original Greek of the New Testament vary in their rendering of Luke 6:16 and Acts 1:13. A literal translation of the references to Jude in these passages gives "Jude of James" (Ἰούδας Ἰακώβου), as in Young's Literal Translation of the Bible, but scholars differ on whether this means "Jude, brother of James" or "Jude, son of James". The King James and the Douay-Rheims versions call him "Judas the brother of James", making him the same person as the writer of the Epistle of Jude, who identifies himself as "Jude, the servant of Jesus Christ, and brother of James" (Jude 1:1).

Most modern translations (including the New International Version, Revised Standard Version and New Revised Standard Version), identify him as "Jude the son of James", and not the same person as the author of the Epistle of Jude. Protestant scholar Darrell L. Bock writes that it must mean "son" not "brother", because when "brother" is intended, the Greek word for "brother" (adelphos) is present. Bock also says that means he was not the brother of Jesus. Additionally the use of the genitive case of "James" (Iakovou) in Greek, usually signifies or implies the person's father to be distinguished from his homonyms.

Brother of Jesus?
Opinion is divided on whether Jude the apostle was also Jude, brother of Jesus, the traditional author of the Epistle of Jude. Generally, Catholics believe the two Judes are the same person.

According to the surviving fragments of the work Exposition of the Sayings of the Lord of the Apostolic Father Papias of Hierapolis, who lived c. 70–163 AD, Mary the wife of Cleophas or Alphaeus would be the mother of Judas the brother of Jesus that Papias identifies with Thaddeus:

"Mary the wife of Cleophas or Alphaeus, who was the mother of James the bishop and apostle, and of Simon and Thaddeus, and of one Joseph...(Fragment X)"

Possible identity with Thaddeus

In the apostolic lists at and, Jude is omitted, but there is a Thaddeus (or in some manuscripts of Matthew 10:3, "Lebbaeus who was surnamed Thaddaeus", as in the King James Version) listed in his place. This has led many Christians since early times to harmonize the lists by positing a "Jude Thaddeus", known by either name. This is made plausible by the fact that a number of New Testament figures have multiple names (such as Simon Peter and Joseph Barnabas). It has been argued that the name "Judas" was tarnished by Judas Iscariot and for this reason Mark and Matthew referred to him by an alternative name.

Some Biblical scholars reject this theory, however, holding that Jude Iscariot and Jude Thaddeus did not represent the same person. They have proposed alternative theories to explain the discrepancy: an unrecorded replacement of one for the other during the ministry of Jesus because of apostasy or death; the possibility that "twelve" was a symbolic number and an estimation; or simply that the names were not recorded perfectly by the early church.

Thaddeus, one of the twelve apostles, is often indistinguishable from Thaddeus of Edessa, whom Eastern Christian considers as one of the Seventy disciples.

In some Latin manuscripts of Matthew 10:3, Thaddeus is called Judas the Zealot.

In other manuscripts
According to the Golden Legend, which is a collection of hagiographies compiled by Jacobus de Voragine in the thirteenth century:

"This Judas was called by many names. He was said Judas of James, for he was brother to James the Less, and he was called Thaddeus, which is as much to say as taking a prince; or Thadee is said of Thadea, that is a vesture, and of Deus, that is God, for he was vesture royal of God by ornament of virtues, by which he took Christ the prince. He is said also in the History Ecclesiastic, Lebbæus, which is as much to say as heart, or worshipper of heart. Or he is said Lebbæus of lebes, that is a vessel of heart by great hardiness, or a worshipper of heart by purity, a vessel by plenitude of grace, for he deserved to be a vessel of virtues and a caldron of grace." In the same work, Simon Cananean and Judas Thaddeus are described as siblings of James the Less and sons of Mary of Clopas, who was married to Alpheus.

The Epistle of Saint Jude is usually attributed to the Apostle Jude, and is a short piece. Some statues of Saint Jude include the letter (such as the statue of Saint Jude by Adam Kossowski in Faversham, Kent).

Tradition and legend
Tradition holds that Jude preached the Gospel in Judea, Samaria, Idumaea, Syria, Mesopotamia and Libya. He is also said to have visited Beirut and Edessa, though the emissary of the latter mission is also identified as Thaddeus of Edessa, Addai, one of the Seventy. The 14th-century writer Nicephorus Callistus makes Jude the bridegroom at the wedding at Cana. The legend reports that Jude was born into a Jewish family in Paneas, a town in Galilee later rebuilt during the Roman period and renamed Caesarea Philippi.

In all probability, he spoke both Greek and Aramaic, like almost all of his contemporaries in that area, and was a farmer by trade. According to the legend, Jude was son of Clopas and Mary of Clopas, sister of the Virgin Mary.

Although Saint Gregory the Illuminator is credited as the "Apostle to the Armenians", when he baptized King Tiridates III of Armenia in 301, converting the Armenians, the Apostles Jude and Bartholomew are traditionally believed to have been the first to bring Christianity to Armenia, and are therefore venerated as the patron saints of the Armenian Apostolic Church. Linked to this tradition is the Saint Thaddeus Monastery (now in northern Iran) and Saint Bartholomew Monastery (now in southeastern Turkey) which were both constructed in what was then Armenia.

On October 4, 2015, the Catholicos of All Armenians Karekin II, consecrated the Saint Thaddeus Church in Masis, Armenia. The construction site of the Church was chosen by Vazgen I, the Catholicos of All Armenians, in 1991 and the ground blessing service was conducted in the same year.

Death and remains

According to tradition, Jude suffered martyrdom about 65 AD in Beirut, in the Roman province of Syria during the 1st century in Lebanon together with the apostle Simon the Zealot, with whom he is usually connected. The axe that he is often shown holding in pictures symbolizes the way in which he was killed. Their acts and martyrdom were recorded in an Acts of Simon and Jude that was among the collection of passions and legends traditionally associated with the legendary Abdias, bishop of Babylon, and said to have been translated into Latin by his disciple Tropaeus Africanus, according to the Golden Legend account of the saints.

According to one account, Jude's body was brought from Beirut to Rome and placed in a crypt in St. Peter's Basilica which is visited by many devotees. His bones are in the left transept of St. Peter's Basilica under the main altar of St. Joseph, in one tomb with the remains of the apostle Simon the Zealot. These were moved here on 27 December 1665. An arm was removed from St. Jude's remains centuries ago and placed in a wooden reliquary carved in the shape of an upright arm imparting a blessing. From September 2023 to May 2024, the arm of Saint Jude Thaddeus went on a pilgrimage in the United States, making stops in 100 cities.

According to another popular tradition, the remains of Jude were preserved in an Armenian monastery on an island in the northern part of Issyk-Kul Lake in Kyrgyzstan at least until the mid-15th century.

A plain ossuary marked with the inscription "Judas Thaddaeus" (Ιουδας Θαδδαιου) was found in Kefar Barukh, Jezreel Valley, alongside fragments of four uninscribed ossuaries. The site was dated by lamps and other pottery to no later than the early second century.

Iconography

Jude is traditionally depicted carrying the image of Jesus in his hand or close to his chest, betokening the legend of the Image of Edessa, recorded in apocryphal correspondence between Jesus and Abgar which is reproduced in Eusebius' History Ecclesiastica, I, xiii. Eusebius relates that King Abgar of Edessa (now Şanlıurfa in southeast Turkey) sent a letter to Jesus seeking a cure for an illness afflicting him. With the letter he sent his envoy Hannan, the keeper of the archives, offering his own home city to Jesus as a safe dwelling place. The envoy painted a likeness of Jesus with choice paints (or alternatively, impressed with Abgar's faith, Jesus pressed his face into a cloth and gave it to Hannan) to take to Abgar with his answer. Upon seeing Jesus' image, the king placed it with great honor in one of his palatial houses. After Christ's execution, Thomas the Apostle sent Addai, one of the 70 or 72 in, to King Abgar and the king was cured. Astonished, he converted to Christianity, along with many of the people under his rule. Additionally, Jude is often depicted with a flame above his head, representing his presence at Pentecost, when he was said to have received the Holy Spirit with the other apostles.

Veneration
According to tradition, after his martyrdom, pilgrims came to his grave to pray and many of them experienced the powerful intercessions of St. Jude. Thus the title, 'The Saint for the Hopeless and the Despaired'. St. Bridget of Sweden and St. Bernard had visions from God asking each to accept St. Jude as 'The Patron Saint of the Impossible'. Jude is remembered (with Simon) in the Church of England with a Festival on 28 October.

His feast day is 28 October (in the Roman Catholic Church, Anglican Communion, and Lutheran Church).

Apostle Jude son of James (Lebbaeus, Thaddaeus) the Brother of the Lord is commemorated on 19 June and 30 June (Synaxis of the Holy, Glorious and All-Praised Twelve Apostles) in the Eastern Orthodox Church.

The Order of Preachers (better known as the Dominicans) began working in present-day Armenia soon after their founding in 1216. At that time, there was already a substantial devotion to Saint Jude by both Catholic and Orthodox Christians in the area. This lasted until Muslim persecution drove Christians from the area in the 18th century. Devotion to Saint Jude began again in earnest in the 19th century, starting in Italy and Spain, spreading to South America and finally to the United States (starting in the vicinity of Chicago) owing to the influence of the Claretians who established the National Shrine of St. Jude in 1929.

Thaddeus of Edessa, an Apostle of the Seventy (sometimes identified as Jude Thaddaeus, one of the Twelve Apostles) is commemorated on 21 August and 4 January (Synaxis of the Seventy Apostles) in the Eastern Orthodox Church.

Patronage
Among some Roman Catholics, Jude is venerated as the "patron saint of hopeless causes". This practice is said to stem from the belief that few Christians invoked him for misplaced fear of praying to Christ's betrayer, Judas Iscariot, because of their similar names. The ignored Jude thus supposedly became quite eager to assist anyone who sought his help, to the point of interceding in the most dire of circumstances.

Jude is the patron saint of the Chicago Police Department, of Customs Officers, of Clube de Regatas do Flamengo (a soccer team in Rio de Janeiro, Brazil) and of two St Jude's GAA teams, the first in Templeogue Dublin 6W and also St Jude's GAA club in Southampton & Bournemouth (UK). His other patronages include desperate situations and hospitals. One of his namesakes is St. Jude Children's Research Hospital in Memphis, Tennessee, which has helped many children with terminal illnesses and their families since its founding in 1962.

Shrines and churches
Many countries venerate the Apostle Jude and have constructed shrines or churches dedicated to his memory. Such sites include those in Australia, Brazil, Sri Lanka, Cuba, India, Iran, the Philippines, New Zealand, the United Kingdom, the United States and Lebanon. The Nationwide Center of St. Jude Devotions in Baltimore was founded in 1917 by the Pallottines. The National Shrine of Saint Jude Thaddeus in the Philippines was erected by the Archdiocese of Manila in 1954 as Espíritu Santo Chinese Parish. The Shrine holds the saint's novena liturgy every Thursday and is now under the Society of the Divine Word that also runs the attached Saint Jude Catholic School. The National Shrine of Saint Jude at Faversham in England was founded in 1955. There is also a shrine of St. Jude built by the Dominicans (Order of Preachers) in Lagos, Nigeria.

The cathedral of the Roman Catholic Diocese of Phoenix, Arizona is the Cathedral of Saints Simon and Jude.

In Islam
The Quranic account of the disciples of Jesus does not include their names, numbers, or any detailed accounts of their lives. Muslim exegesis, however, more or less agrees with the New Testament list and says that the disciples included Peter, Philip, Thomas, Bartholomew, Matthew, Andrew, James, Jude, John and Simon the Zealot.

title: Jude the Apostle


text:
Talk:Military occupation

Tibet
Tibet is included in both the occupations and disputed occupations lists, I removed it from the occupations list because of the reason stated at the top of this page. Say1988 02:33, 25 March 2005  (UTC)

First paragraph of body
I propose the following revision to the first paragraph in the body of the article to give a better sense of how land and property dominated by combat were handled before the 18th century, and to present brief historic and modern conceptualizations of occupation. (I provided an extended section of Benvenisti's source I quoted, because the entire source paragraph does a great job explaining the underlying relationships of occupation.) This revision removes mention of the Napoleonic wars, since they aren't mentioned in the source. Any feedback?

 * A dominant principle that guided combatants through much of history was "to the victory belong the spoils". Emerich de Vattel, in The Law of Nations (1758), presented an early codification of the distinction between annexation of territory and military occupation, the latter being regarded as temporary, due to the natural right of states to their "continued existence". According to Eyal Benvenisti's The International Law of Occupation, Second Edition (2012), "The foundation upon which the entire [modern] law of occupation is based is the principle of inalienability of sovereignty through unilateral action of a foreign power, [and from this principle] springs the basic structural constraints that international law imposes upon the occupant."
 * Dotyoyo (talk) 06:46, 19 April 2024 (UTC)

Dotyoyo (talk) 06:46, 19 April 2024 (UTC)

I applied this change to the article on 2024-04-25. Dotyoyo (talk) 01:59, 28 April 2024 (UTC)

Language of lede
The lede is a real brain-teaser and tongue twister. For example, take the phrase "with the ruling power being the occupant". And so on. I am not a native speaker so I dont dare to rewrite the lede (beyond one simplification), but I urge y'all to make it mode digestable. Now it looks to me like a text of a limited warranty :-) (What??? a redlink? :-) - Altenmann >talk 18:08, 9 July 2024 (UTC)
 * There are two ruling powers involved in such situations: that of occupied and that of occupant. I am pretty much sure there are internationally accepted definitions and wikipedia does not have to invent their own weird language (not found in sources, by the way; e.g., the first footnote says simply "a power <...> that power has no sovereign title").
 * "outside of the legal boundaries of that ruling power's own sovereign territory" - This circumlocution sounds dubious: For example, for Nazi Germany, Reichsgau Wartheland was quite nicely within Nazi-defined legal boundaries. And it is only clarified a bit after reading below: "to keep in place only temporarily". Again, General Government indeed was "only temporarily", intended to be taken care of later.
 * " military government <...> though this is not a necessary precondition for occupation to take place" - this cannot be described as "precondition" but rather "characteristic", "attribute", etc.. Not to say that "necessary precondition" is a tautology.

title: Talk:Military occupation


text:
Operation Hammer (1987)

A Los Angeles Police Department C.R.A.S.H. initiative that began in April 1987, Operation Hammer was a large scale attempt to crack down on gang violence in Los Angeles, California. A year later, the LA Times reported a double-digit drop in gang violence in parts of the city. After a group of people at a birthday party were shot down on their front lawn in a drive-by shooting, Chief of Police Daryl F. Gates responded with a roundup of gang members. At the height of this operation in April 1988, 1,453 people were arrested by one thousand police officers in South Central Los Angeles (now South Los Angeles) in a single weekend.

The origin of Operation Hammer can be traced back to the 1984 Olympic Games held in Los Angeles. Under the supervision of Gates the LAPD expanded gang sweeps for the duration of the Olympics, which were implemented across wide areas of the city but especially South Central and East Los Angeles. After the games were over, old anti-syndicalist laws began to be revived to maintain the security policy instigated by the Olympic games, and mass arrests of black and Hispanic youth become more common, even though the overwhelming numbers of people arrested were never charged. Citizen complaints against police brutality increased 33 percent in the period 1984 to 1989.

Operation Hammer was also propelled by the murder of Karen Toshima in January 1988 in Westwood, when she got caught in the crossfire of a gang firefight.

According to the LA Times, August 1, 1988 featured a large-scale raid by 88 LAPD officers on "two apartment buildings on the corner of 39th Street and Dalton Avenue ... It was an all-out search for drugs and a massive show of force designed to deliver a strong message to the gangs." Police caused massive property damage (including smashed furniture, holes punched in walls, and destruction of family photos) and sprayed graffiti messages such as "LAPD Rules" and "Rollin' 30s Die." In addition, "Dozens of residents from the apartments and surrounding neighborhood were rounded up. Many were humiliated or beaten, but none was charged with a crime.  The raid netted fewer than 6 oz of marijuana and less than an ounce [1 oz] of cocaine." In 2001, Officer Todd Parrick said in retrospect, "We weren't just searching for drugs. We were delivering a message that there was a price to pay for selling drugs and being a gang member."

By 1990 over 50,000 people had been arrested in raids. During this period, the LAPD arrested more young black men and women at any period of time since the Watts riots of 1965. Despite the large number of arrests, in April 1988, there were only 60 felony arrests, and charges were only filed in 32 instances. Disputing that figure, Chief Gates claimed that charges were filed on 70% of the suspects arrested.

Critics have alleged that the operation was racist because it heavily employed racial profiling, targeting African-American and Hispanic youths. The perception that police had targeted non-Caucasian citizens likely contributed to the anger which, after the assault of motorist Rodney King, would erupt into the 1992 Los Angeles riots.

Chief Gates was asked in a 2001 PBS interview whether the local people in the minority areas expressed thanks to the police:

"Sure. The good people did all the time. But the community activists? No. Absolutely not. We were out there 'oppressing' whatever the community had to be, whether it was blacks, or Hispanics. We were 'oppressing' them. Nonsense. We're out there trying to save their communities, trying to upgrade the quality of life of people ..."

title: Operation Hammer (1987)


text:
Baseball superstition

Baseball is a sport with a long history of superstition. From the Curse of the Bambino to some players' refusal to wash their clothes or bodies after a win, superstition is present in all parts of baseball. Many baseball players — batters, pitchers, and fielders alike — perform elaborate, repetitive routines prior to pitches and at bats due to superstition. The desire to keep a number they have been successful with is strong in baseball. In fact, anything that happens prior to something good or bad in baseball can give birth to a new superstition.

Some of the more common superstitions include purposely stepping on or avoiding stepping on the foul line when taking the field, and not talking about a no-hitter or perfect game while it is in progress — a superstition that also holds for fans and announcers. Others include routines such as eating only chicken before a game like Wade Boggs, pitcher Justin Verlander eating three crunchy taco supremes (no tomato), a cheesy gordita crunch and a Mexican Pizza (no tomato) from Taco Bell, before every start, and drawing in the dirt in the batter's box before an at bat. Justin Morneau, the 2006 American League Most Valuable Player winner, wears number 33 to honour his idol, ex-NHL goaltender Patrick Roy. His ritual before every Twins' home game entails stopping by the same Jimmy John's Gourmet Subs — located on Grand Avenue in St. Paul, Minnesota — and ordering the same sandwich from the menu: Turkey Tom with no sprouts. Afterwards, he drinks a Slurpee from a Slurpee machine in the Twins' clubhouse made of one-half Mountain Dew, one-half red or orange flavor. In 2013, Bryce Harper said on Jimmy Kimmel Live that he eats waffles and takes seven showers before games.

Certain players go as far as observing superstitions off the field. This includes early 20th-century second baseman Amby McConnell; whenever he was in the middle of a batting slump, he would scavenge the streets and pick up any pin he found, believing this was a sign he would break out of the slump.

title: Baseball superstition


text:
Philtrum

The philtrum (philtrum from Ancient Greek phíltron, lit. "love charm" ) or medial cleft is a vertical indentation in the middle area of the upper lip, common to therian mammals, extending in humans from the nasal septum to the tubercle of the upper lip. Together with a glandular rhinarium and slit-like nostrils, it is believed to constitute the primitive condition for at least therian mammals. Monotremes lack a philtrum, though this could be due to the specialised, beak-like jaws in living species.

Function
In most mammals, the philtrum is a narrow groove that may carry dissolved odorants from the rhinarium or nose pad to the vomeronasal organ via ducts inside the mouth.

For humans and most primates, the philtrum survives only as a vestigial medial depression between the nose and upper lip.

The human philtrum, bordered by a pair of ridges known as the philtral columns, is also known as the infranasal depression, but has no apparent function. That may be because most higher primates rely more on vision than on smell. Strepsirrhine primates, such as lemurs, still retain the philtrum and the rhinarium, unlike monkeys and apes.

Development
In humans, the philtrum is formed where the nasomedial and maxillary processes meet during embryonic development. When these processes fail to fuse fully, a cleft lip may result.

Variation
A flattened or smooth philtrum may be a symptom of fetal alcohol syndrome or Prader–Willi syndrome.

A study of boys diagnosed with autism spectrum disorders found that a broader than average philtrum is one of a cluster of physical attributes associated with autism.

Society and culture
In Jewish tradition, each embryo has an angel teaching it all of the wisdom in the world while it is in utero. The angel lightly taps the infant's upper lip before birth to prevent the infant from revealing the secrets of the universe; the infant then forgets the Torah it has been taught. Some believers of the story speculate that this is the cause of the philtrum, but it does not have a basis in traditional Jewish texts.

In Key Largo (1948), Frank McCloud (Humphrey Bogart) tells a fairy tale, saying that, before birth, the soul knows all the secrets of heaven, but at birth an angel presses a fingertip just above one's lip, which seals us to silence. This is also cited in the Stephen King short story "Afterlife".

In the movie Mr. Nobody, unborn infants are said to have knowledge of all past and future events. As an unborn infant is about to be sent to its mother, the "Angels of Oblivion" lightly tap its upper lip, whereupon the unborn infant forgets everything it knows. The movie follows the life story of an infant whose lip had not been tapped.

In the book Prince Ombra by Roderick MacLeish, the "cleft on our upper lips" is attributed to being hushed by a "cavern angel" just before we are born.

In Philippine mythology, the enchanted creature diwata (or encantado) has smooth skin, with no wrinkles even at the joints, and no philtrum.

In Les Misérables by Victor Hugo, translated by Isabel F. Hapgood, Fantine's philtrum is described thus, "in the very characteristic interval which separates the base of the nose from the upper lip, she had that imperceptible and charming fold, a mysterious sign of chastity, which makes Barberousse fall in love with a Diana found in the treasures of Iconia." Book Third—In The Year 1817, Chapter III—Four And Four.

In Icelandic folklore, the huldufólk, or elfin "hidden people", may appear as normal humans but have a physical characteristic making them different: they have a convex rather than concave philtrum.

title: Philtrum