text:
Patrick Campbell, 3rd Baron Glenavy

Patrick Gordon Campbell, 3rd Baron Glenavy (6 June 1913 – 10 November 1980) was an Irish journalist, humorist and television personality.

Life and career
Campbell was born in Dublin, the first son of Charles Campbell, 2nd Baron Glenavy and Beatrice, Lady Glenavy (the artist Beatrice Elvery). He was educated at Rossall School (which he loathed) and then Pembroke College, Oxford, but left Oxford without completing his degree. He was taken on by The Irish Times by Robert Smyllie and reported on "Courts Day by Day". During the Second World War, he served as a Chief Petty Officer in the Irish Marine Service. After the war he re-joined The Irish Times (using the pseudonym 'Quidnunc'), and given charge of the column "Irishman's Diary". He had a weekly column for the Irish edition of the Sunday Dispatch before working on the paper in London from 1947 to 1949. He was assistant editor of Lilliput from 1947 to 1953. His writings also appeared in The Sunday Times.

His books, mostly collections of humorous pieces that were originally published in newspapers and magazines, included: A Long Drink of Cold Water (1949), A Short Trot with a Cultured Mind (1950), An Irishman's Diary (1950), Life in Thin Slices (1951), Patrick Campbell's Omnibus (1954), Come Here Till I Tell You (1960), Constantly in Pursuit (1962), How to Become a Scratch Golfer (1963), Brewing Up in the Basement (1963), Rough Husbandry (1965), The P-P-Penguin Patrick Campbell (1965), All Ways on Sundays (1966), A Bunch of New Roses (1967), an autobiography My Life and Easy Times (1967), The Coarse of Events (1968), Gullible Travels (1969), The High Speed Gasworks (1970), Waving All Excuses (1971), Patrick Campbell's Golfing Book (1972), Fat Tuesday Tails (1972), 35 Years on the Job (1973), and The Campbell Companion (1987). Many of his books were illustrated by Ronald Searle.

Campbell was married three times, first in 1941 to Sylvia Alfreda Willoughby Lee, whom he divorced in 1947. Then to Chery Louise Munro in 1947. The two divorced in 1966, the year he married Vivienne Orme.

Campbell spoke with a stammer, but nevertheless delighted television audiences with his wit, notably as a regular team captain on the long-running show Call My Bluff, opposite his longtime friend, Frank Muir. Muir noted that "When he was locked solid by a troublesome initial letter he would show his frustration by banging his knee and muttering 'Come along! Come along!'". Some of his funniest short stories described incidents involving his stammer. Campbell stood six feet five inches tall, and several of his funniest pieces dealt with the problems faced by a man of his build in merely finding shoes or clothes that fitted him. He also made regular appearances in That Was The Week That Was.

He lived for many years in the South of France, and died in Cannes on 10 November 1980. He was succeeded as the 4th and last Lord Glenavy by his novelist brother Michael.

title: Patrick Campbell, 3rd Baron Glenavy


text:
User:Mbbx6spp

A Principal Software Consultant for asset management firms and hedge funds. Currently residing in the US, but originally from the other side of the Atlantic (Great Britain).

User's background is quantitative in nature. After graduating the University of Manchester with a BSc in Mathematics, I worked for two investment banks in London and then moved to develop a B2B trading platform at a startup in San Fransciso, California (US). Since then I have consulted for a leading hedge fund, another investment bank, both in Chicago, Ilinois (US), and the industry leader in open source software at its Raleigh, North Carolina (US) headquarters. Currently consulting for medium sized hedge funds.

Blog: http://snakesgemscoffee.blogspot.com/

Web: http://susanpotter.net

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

title: User:Mbbx6spp


text:
Upper shoreface

Upper shoreface refers to the portion of the seafloor that is shallow enough to be agitated by everyday wave action, the wave base.

Below that is the lower shoreface.

Process
The continuous agitation of the sea floor in the upper shoreface environment results in sediments that are winnowed of the smallest grains, leaving only those grains heavy enough that the water cannot keep them suspended.

Depth of influence
Seawater is moved in a vertical circular motion when a wave passes. The radius of the circle of motion for any given water molecule decreases with depth.

The maximum depth of influence of a water wave is half the wavelength. Below that depth the water remains stationary as the wave passes.

For instance, in a pool of water 1 ft deep, a wave with a wavelength of 1 ft would not be able to cause water movement on the bottom. However, a wave with a 2 ft wavelength would be moving the water (barely) at the bottom.

title: Upper shoreface


text: Category:World War II espionage

title: Category:World War II espionage


text:
Talk:RFA Fort Langley

I served in Fort Langley briefly in 1960 as a signalman loaned for the purpose of a large fleet exercise involving all SEATO countries. What a difference i found from flagship routine (HMS Belfast) and the two destroyers I had afterwards (HMS CASSANDRA AND HMS CAVALIER). Remember we were an ammunition ship, and had to anchor off TRINCOMALEE cos they wouldnt let us in the harbour. As a 16 year old RN signalman I found the Merchant Navy style somewhat easier than what I was used to, I even had a bunk. Don Ford ex RN L/Signalman

title: Talk:RFA Fort Langley


text: Category:Computer architecture

title: Category:Computer architecture


text: Category:Project management

title: Category:Project management


text:
Lower shoreface

Lower shoreface refers to the portion of the seafloor, and the sedimentary depositional environment, that lies below the everyday wave base.

Process
The wave base is the maximum depth at which a water wave's passage causes significant water motion.

In this portion of the coastal marine environment, only the larger waves produced during storms have the power to agitate the seafloor.

Between storms, finer grained sediments accumulate on the seafloor, but during storms those sediments get suspended and moved around, resulting in a sedimentary structure form described as hummocky cross-stratification.

title: Lower shoreface


text:
PPI

PPI may refer to:

Biochemistry

 * PPi, the anion P2O74−, a pyrophosphate
 * Polyproline I helix
 * Protein–protein interaction

Medicine

 * Patient and public involvement
 * Prepulse inhibition, of a later pulse
 * Proton-pump inhibitor, a medication
 * Psychopathic Personality Inventory, a personality test
 * Psychophysiological Interaction, fMRI analysis technique

Computing

 * Parallel Peripheral Interface, of the Blackfin processor
 * Programmable Peripheral Interface, Intel 8255 chip
 * Programmable Peripheral Interconnect, in Nordic nRF microcontrollers
 * Pixels per inch, of a display
 * Productivity Products International, commercializer of the Objective-C language

Other science and technology

 * Gabarit passe-partout international, in railways
 * Picks per inch, a unit of textile measurement
 * Plan position indicator, radar display
 * Polymethylene polyphenylene isocyanate

Business and organizations

 * Italian People's Party (1919) (Partito Popolare Italiano), a political party
 * Italian People's Party (1994) (Partito Popolare Italiano), a political party
 * Peace Party of India, Uttar Pradesh
 * Perusahaan Perdagangan Indonesia, trading company
 * Philips Phonographische Industries, later Philips Records
 * Phonographic Performance Ireland, music licensing company
 * Pirate Parties International
 * Polly Peck International, former UK company
 * Primarily Primates, primate sanctuary, Texas, US
 * Productivity Products International, US software company later renamed Stepstone
 * Progressive Policy Institute, U.S.
 * Pakistan Press International, a news agency

Other uses

 * Pareto priority index, to prioritize projects
 * Payment protection insurance
 * Positive polarity item
 * Producer price index
 * Pulse Polio, immunisation campaign in India
 * Port Pirie Airport, IATA airport code "PPI"

title: PPI


text:
Talk:Grand Moff Tarkin

Copyright
reference

So let me get this straight, this was copied from another site, it says so at the bottom and nobody ever said anything.

 * Apparently so. I've reverted to the last "clean" version --rbrwrˆ 22:04, 31 Jul 2004 (UTC)

 * For those coming in late, the copyvio was from Star Wars Homepage (Grand Moff Tarkin) and has been up for about a month and a half. --rbrwrˆ 22:06, 31 Jul 2004 (UTC)

 * Can you clarify the situation? My understanding was that the Star Wars Homepage gave permission for this to be copied over to Wilk.  Much as the same procedure as Commodore (rank) was from the Naval Historical Society. --User:Husnock 31 Jul 04

 * Now that I didn't know. I have no history of editing Star Wars articles on Wikipedia, and just happened to notice the anon comment above on Recent Changes, so I don't have any specialist knowledge of copyrights in this area.

 * The use is clearly not permissable under the standard copyright on starwars.com, which states "Any use of any of the materials on this Site other than for private, non-commercial viewing purposes is strictly prohibited." If special permission was granted, that should be recorded somewhere and the specific terms should be made clear. Have they licensed this article under the GFDL so that we can edit it as we please and allow downstream users to make commercial use of it? If not, we probably shouldn't be using it. Are there any other articles licensed in this way, or is Grand Moff Tarkin the only one? I've had a quick look and can't see any that match the starwars.com articles. Who at Lucasfilm gave the permission? Do we have it in writing, as an e-mail perhaps?

 * So I think my question is: can you clarify the situation? What made you think that Lucasfilm had given permission for you to copy this article over? If they have given permission, that's excellent news, but forgive me for being a bit skeptical. --rbrwrˆ 09:22, 1 Aug 2004 (UTC)

Self-contradiction
The article is self-contradictory...the picture describes him as "loyal" who "carries out Palpatine's will", but then implies him a plot to gain power? Isn't that not loyal and more of cunning? Or was he loyal, but Palpatine was paranoid as usual and decided to purge him? Ie. sort of like Stalin using Yezhov to head the NKVD to do the dirty work then pure him afterwards? (But I'm more of thinking Vader was the loyal one, and perhaps Tarkin the dangerous one?) I don't follow Star Wars much, so I do not know. --Natalinasmpf 00:30, 16 Apr 2005 (UTC)

 * A defining feature of the Sith (and by extension, the Empire), is that they are very loyal... up until the moment they plunge the dagger in their superior's back. --maru (talk) contribs 19:05, 17 February 2006 (UTC)

Tarkin shows no signs of being anything but loyal to the Empire on-film; even Vader seems at ralative ease around him. It is the (often criticized) EU who hints that he might have been considering a power play. The EU is canon unless directly contridicted by higher canon, such as the movies or what Lucas himself decides.

Tarkin can plan to be in line of succession -- and still be entirely loyal. Chesspride216.144.161.51 (talk) 19:07, 24 March 2023 (UTC)

TARKIN DIES ON THE DEATH STAR

Is it clear in the film that Tarkin actually dies when the Death Star explodes? I mean-- is there a scene that confirms? Otherwise, how do we know he dies when the ship explodes? Is it assumed? Is there dialogue? A mention in a later film? Or is it equally plausible that he survived in an escape pod -- as Darth Vader does explicitly on screen, etc. Chesspride216.144.161.51 (talk) 19:07, 24 March 2023 (UTC)

Move
The move to "General Tarkin" is erroneous and stupid. I'm contacting an admin to fix it. — Phil Welch 19:27, 19 July 2005 (UTC)

 * Or we could just revert it and turn General Tarkin into a redirect.

 * I wasn't really thinking straight for that period of time. But Governor Tarkin would be an appropriate move. --A Link to the Past 01:39, July 20, 2005 (UTC)

 * I thought we generally left articles at the most common name or their highest rank? Lord know Grand Moff Tarkin is a lot more common than Governor Tarkin... --maru (talk) contribs 19:05, 17 February 2006 (UTC)

Canonicity
The source for all this exposition is... what? Novelizations? Are those considered canonical in the SW world? I suspect some characterization is in order... --Baylink 23:03, 19 July 2005 (UTC)

 * Check the article on Star Wars canon, or Star Wars Gamer Magazine #6 (October/November 2001), page 113 where it cites Sue Rostoni, an editor with Lucas Licensing
 * "Our goal is to present a continuous and unified history of the Star Wars galaxy, insofar as that history does not conflict with, or undermine the meaning of Mr. Lucas's Star Wars saga of films and screenplays. Things that Lucas Licensing does not consider official parts of Star Wars history show an Infinities logo or are contained in Star Wars Tales.  Everything else is considered canon.".

 * The Star Wars tradition is that everything is canon unless it's explicitly non-canonical (like some stories and comic books clearly marked as such) or been specifically disowned from the Canon (extremely rare, but some late 1970's comic strips run in newspapers are totally irreconcilable with the rest of Canon). If anything conflicts, there is a specific hierarchy to specify what is correct.  First is the movies themselves and statements directly from George Lucas, then there are adaptations of movies like the novelizations and radio plays, then there is the vast bulk of Star Wars Expanded Universe material like novels and comic books.  Then some secondary source material (which are generally accepted as long as they don't conflict).
 * Thus, if an official product gives the backstory and exposition of a character, and it isn't contradicted by anything higher up in the Canon chain, it's canon. Some parts of the Prequels, like the planet Coruscant, came first from the novels, and Lucas took them from the novels to use in the movie. Lucas has also vetoed some plot developments and revelations in novels because he disagreed with them, so everything does get a very extensive official review to ensure it fits within the canon.  Some hardcore fans only acknowledge the movies themselves as Canon, but even Lucasfilm disagrees with that.  Some casual fans also may make the mistake if they first came from Star Trek, which holds that only the TV shows and movies are canon, and never any novels or licensed materials.  --Wingsandsword 04:36, 12 August 2005 (UTC)

removed from Good articles
was formerly listed as a good article, but was removed from the listing because of lack of references. There are no references other than a single embedded HTML link that does not mention the subject of the article.

--Allen3 talk 01:57, 17 February 2006 (UTC)

 * Excellent point, sorry for not noticing. Ill find some for it in a little bit. --American Patriot 1776 14:21, 17 February 2006 (UTC)

 * No no, leave it to me. I would have done it already, but I was busy with Rule of two. --maru (talk) contribs 19:01, 17 February 2006 (UTC)

 * Thank you, I however will also search for references as this article is very well written and should be placed on the Good Articles list once it has some! American Patriot 1776 20:28, 17 February 2006 (UTC)      Theres some links to start with.  I also included the movies because they are critical in looking at who Tarkin is. American Patriot 1776 20:54, 17 February 2006 (UTC)

 * I think its good now! American Patriot 1776 04:52, 26 February 2006 (UTC)

 * i dont. wikilinks are not referenced, the order is all messed up (why is revenge of the sith more important than star wars?), and most importantly the article "should not omit any major facets of the topic" - i.e. why this char is important, what was goerge lucas' intentions in creating this character, what was his impact outside of the star wars universe etc? as it stands its just starwarscruft. delisted.

 * ROTS comes before ANH because that is in chronological order. --maru (talk) contribs 03:22, 6 March 2006 (UTC)

 * Yes and what exactly is this supposed to mean "should not omit any major facets of the topic" and does the article have to be relevent to anything but the subject its on?  Just because it has no bearing on our daily life doesn't make it any more or any less well written than another article. American Patriot 1776 01:41, 7 March 2006 (UTC)

 * This article is shocking - how could it ever have been nom'd as a "good article"? It is not canon, and its accounts are highly subjective/interpretive -- the description of Tarkin & Vader's association is unclear and inaccurate (although, at least it refers to something all SW fans are familiar with).  The author seems to be primarily concerned with downplaying Vader's (bureaucratic, not existential) inferiority to Tarkin.

Maybe one day I'll fix it... This article sounds remarkably like someone's private use of SW characters for RPG purposes - perhaps a link to fan uses and interpretations of SW could be added.

Confusing
I find this article confusing because it seems to list a whole pile of incident's in the character's life without saying what works they occurred in. Incidents from the movies seem to be mixed up with incidents from later novels. It would be much better if we could sort out what occurred in the moves from what occurred in other novels. DJ Clayworth 16:00, 12 June 2006 (UTC)
 * Its called "in-universe perspective" and its an Wikipedia no-no for just that reason WP:WAF. This article seems to be monument to how not to write an article. Odd that it ever was considered a "good article". Halfblue 04:11, 18 October 2006 (UTC)

Wilhuff
Sorry, but I think it's odd to include this EU information at the head of the article and in the infobox for a character as well known as Grand Moff Tarkin. The vast majority of the public would be unaware of this information, making the article confusing rather than informative. There's nothing wrong with mentioning EU notions such as this name, but as it has not appeared in the films, it should be restricted to the body of the article.Rhindle The Red 01:26, 21 June 2006 (UTC)

 * Agreed; I changed it to Grand Moff Tarkin, since that name is good enough for the article title. Tempshill (talk) 07:27, 28 January 2008 (UTC)

Poorly titled sections "Revenge of the Sith" and "A New Hope."
These sections are poorly titled. Naming the sections after works in the Star Wars saga creates the impression that the contents of the sections refer to events in the eponymous works. This is not the case.

Because the two sections, taken together, describe the arc of Tarkin's career, I recommend that they be merged into one section called something like "Overview of Tarkin's career."

I'll do it myself if I can figure out how. Capedia 20:34, 18 March 2007 (UTC)
 * I figured it out. It wasn't difficult. Capedia

Tarkin's action figure
Is this figure the only one Grand Moff Tarkin action figure ever created? --David Pro 16:19, 1 May 2007 (UTC)

Death Star the novel
Tarkin has, understandable, a noteable (IMHO) role in the novel 'Death Star'. Lots42 (talk) 23:03, 8 April 2008 (UTC)

yes, I would agree that it is very notable, he oversees almost all of the construction and has many POV chapters Missingno21 (talk) 03:56, 23 March 2015 (UTC)

Redirect
This is mostly in-universe plot summary, with no citations to third-party sources to establish notability. I am redirecting this to List of Star Wars characters. Please feel free to add there any sort of that real-world/development stuff, but only if cited to sources. --EEMIV (talk) 14:44, 13 October 2008 (UTC)

 * So... User:Gamaliel undid the redirect. Anyone going to offer up a reason why any of the cruft in this article should be preserved? The cited material added by User:Uncle G I'm happy to migrate to the List of, but none of those items asserts any independent notability for the subject. --EEMIV (talk) 18:49, 14 October 2008 (UTC)

 * I think Uncle G's work is more than enough to have this article stand on its own. Gamaliel (talk) 19:18, 14 October 2008 (UTC)
 * Yeah, there's more information here than can be gracefully incorporated into the list. I think the article can stand on its own now. Kudos to Uncle G. Zagalejo^^^ 02:57, 15 October 2008 (UTC)

Clone Wars
Tarkin is apparently a good guy in the Clone Wars tv series. Is he really a good guy, and he switches to the dark side later line Anakin did, or is he secretly already on the dark side like Palpatine is? —Preceding unsigned comment added by 4.182.207.184 (talk) 05:06, 21 February 2011 (UTC)

He's portrayed as a good guy in the first encounter, insofar as that the "Republic" is the good guys in the series, and he is on the side of the Republic, but according to Tarkin, he was already a friend of Palpatine and was likely working for him — Preceding unsigned comment added by Missingno21 (talk • contribs) 03:57, 23 March 2015 (UTC)

Production
I don't think that sentence is structured very well, because he didn't outright refuse to wear boots. It should read "Cushing found the boots supplied by the costume department to be uncomfortable, and only wore them in scenes that were necessary. In all of the shots that did not show his feet, he wore slippers." or something to that effect... —Preceding unsigned comment added by 122.111.55.26 (talk) 10:58, 11 May 2011 (UTC)

External links modified
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Lead section
I recently expanded the lead section of the article as follows:

 * "Grand Moff Wilhuff Tarkin, also known as Governor Tarkin, is a fictional character in the Star Wars universe. He was portrayed by Peter Cushing in the original Star Wars film (1977), in which the character was killed off. A younger version of the character, played by Wayne Pygram, briefly appears in the prequel film Star Wars Episode III: Revenge of the Sith (2005). Tarkin also appears in the animated series Star Wars: The Clone Wars and Star Wars Rebels, in both cases voiced by Stephen Stanton, and makes numerous further appearances in non-canonical expanded universe material. The character has been called "one of the most formidable villains in Star Wars history."

Following this, I found my edit reverted by User:EEMIV, with the rationale: "Unnecessary detail/trivia for lede; more appropriate in e.g. Appearances section or infobox." As it stands, the lead provides very basic context, stating little other than that Tarkin is a Star Wars villain, played by Peter Cushing. Surely more context than that is needed to establish notability; for example, the current lead tells us little about Tarkin's relative importance within the franchise, and I would argue that some brief explanation of which Star Wars media feature him is hardly "trivia". I'd point to the lead section of Jabba the Hutt, which is a featured article, in support of this. Anyway, thoughts? Jellyman (talk) 19:23, 21 October 2015 (UTC)

Crediting Cushing for Rouge one
In the portrayal box, Currently he's credited with a note explaining in which capacity, (clarifying that The Movie credits him with a special acknowledgement)should this be kept or removed from the article?Emrabt (talk) 02:48, 19 December 2016 (UTC)

Kept89.240.165.149 (talk) 08:20, 19 December 2016 (UTC)

Crediting Peter Cushing for Rogue One is factually inaccurate. While the character has been made to very closely resemble Peter Cushing, it isn't actually him. There are many articles on the subject, not a single one references archive footage being used directly in the film. The phrase used here 'digitally altered archive footage' appears in no other references I can find, it is original research as far as I can see. The article cited with referencing archive footage specifically says archive footage was studied to recreate him. Yes tonnes of footage and reference of Cushing was used to make the final character look as close to him as possible, but in reality it is not actually, physically him. This is not enough to warrant credit for playing the role. If so then, you could say the same for Tarkin's appearance in ROTS. Lots of reference photos of Cushing was used to make the prosthetic makeup resemble Cushing (of course the end result is less convincing, but it's the same principle). If Cushing is credited for his 'likeness' in Rogue One, then why isn't he for ROTS - since his likeness is used in the prosthetic makeup. Cushing should definitely not be credited for either, because it is not him. It looks like him, they used reference of him to create the character, but it isn't him. Cushing has been dead for 20 years, and was not involved in the film in any way. In the end credits, Cushing is not credited as playing Tarkin. A 'special acknowledgement' is given to Cushing in the credits (which is completely different) but the only person credited with playing Tarkin is Guy Henry - no one else. Yes it's a nice idea to imagine that the late Peter Cushing is 'reprising' his role, but it is just not true. If people are desperate to credit Cushing in the infobox, maybe they can use the parenthesis 'special acknowledgement', since that's how he's credited in the film - though I think that's unnecessary. Xpion (talk) 17:18, 22 December 2016 (UTC)

 * Xpion Two different issues the archive footage thing isn't connected to him having a credit.89.240.165.149 (talk) 20:36, 24 December 2016 (UTC)

 * Yes, CGI was used to create actor Peter Cushing who died over 20 years ago. The Rogue One article discusses that in detail. Earlier this week, I had added some content to this article too, in the Portrayals section, in order to cover that topic. So I agree Cushing should not be credited.
 * btw, many journalists feel that it was a travesty or an indignity to use this trickery to revive a long-dead actor. Peter K Burian (talk) 17:36, 24 December 2016 (UTC)
 * I have now added this very good point (regarding whether it's morally right) to the 'portrayals" section. I've also put a note on Guy Henery's Credit (which leads to the foot notes at the bottom of the article), explaining Cushings Movie Credit acknowledgement, which hopefully is a half way compromise to those that want Cushing Credited.Emrabt (talk) 09:07, 26 December 2016 (UTC)

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Assertion of notability
Hi, I've opened a discussion at the Star Wars WikiProject regarding articles having few or no citations asserting notability, and I invite any interested editors to participate and help rectify this issue. - Cukie Gherkin (talk) 20:29, 3 July 2024 (UTC)

title: Talk:Grand Moff Tarkin


text:
Wave base

The wave base, in physical oceanography, is the maximum depth at which a water wave's passage causes significant water motion. At water depths deeper than the wave base, bottom sediments and the seafloor are no longer stirred by the wave motion above.

Process
In seawater, the water particles are moved in a circular orbital motion when a wave passes. The radius of the circle of motion for any given water molecule decreases exponentially with increasing depth. The wave base, which is the depth of influence of a water wave, is about half the wavelength.

At depths greater than half the wavelength, the water motion is less than 4% of its value at the water surface and may be neglected.

For example, in a pool of water 1 m deep, a wave with a 3 m wavelength would be moving the water at the bottom. In the same pool, a wave with a wavelength of 0.5 m would not be able to cause water movement on the bottom.

Distinctions
There are typically two wave bases, the fair weather wave base (FWWB) and the storm wave base (SWB).

The fair weather wave base refers to the depth beneath the waves under normal conditions and the portion of the seafloor that is agitated by this everyday wave action, known as the Upper shoreface.

The storm wave base refers to the depths beneath storm-driven waves and can be much deeper. The portion of the seafloor that is only agitated by storm-driven wave action is known as the Lower shoreface.

Note that another classification exists, which considers that the zone affected by both fair weather and storm waves is to be defined as shoreface, whereas Upper offshore is the name given to the zone only affected by storm waves and Lower offshore a zone not disturbed by any surface wave. (e.g. )

title: Wave base


text:
User:Andrewmcfarland

= Andrew McFarland =

 * Home page
 * I'm a Christadelphian

title: User:Andrewmcfarland


text:
Sus

Sus or SUS may refer to:

Places

 * Sus, Lachin, a village
 * Sus, Pune, India, a neighborhood
 * Sus, Pyrénées-Atlantiques, France, a commune
 * Susch, Graubünden, Switzerland, a municipality formerly called Süs

People

 * Frank Süs, German footballer
 * Martin Sus (footballer, born 1989), Czech footballer
 * Martin Sus (footballer, born 1990), Czech footballer
 * Pierre de Sus, bailli of the Principality of Achaea
 * So Sus, Canadian electronic music producer
 * Stepan Sus (born 1981), Ukrainian Greek Catholic bishop
 * Sus (rapper), British rapper

Education

 * Shanghai University of Sport, China
 * State University System of Florida, United States

Health

 * Sistema Único de Saúde, Brazil's publicly funded health care system
 * Stavanger University Hospital (Norwegian: Stavanger Universitetssykehus) in Norway

Science and technology

 * Omoglymmius sus, a species of beetle
 * Sus (genus), the genus containing pigs
 * Saybolt universal second, a unit of viscosity
 * Single UNIX Specification, a group of computer standards
 * Software Update Services, a software updating tool from Microsoft
 * Stochastic universal sampling
 * System usability scale, in systems engineering

Sport

 * Club SuS 1896 Bremen, a defunct German association football club
 * Scottish Universities Sport, a professional body for university sport
 * SuS Schalke, sports club in Westphalia, Germany
 * SuS Stadtlohn, sports club in Stadtlohn, Germany

Other uses

 * Sus (film), a 2010 British film
 * Sus (meme), an internet meme related to the video game Among Us, meaning "suspect" or "suspicious"
 * Spirit of St. Louis Airport in St. Louis, Missouri, United States
 * Susu language of Guinea and Sierra Leone
 * Suspended chord, in music
 * Young Independents (Icelandic: Ungir sjálfstæðismenn), the youth wing of the Independence Party of Iceland
 * Süs (magazine), a former Turkish magazine

title: Sus


text:
David Swift (actor)

David Bernard Swift (3 April 1931 – 8 April 2016) was an English actor known for his role as Henry Davenport in the topical comedy Drop the Dead Donkey.

Early life
Swift was born in Liverpool, the second of the four children of Abram Sampson Swift and Lily Rebecca (née Greenman), who owned a furniture shop in Bootle. His family was Jewish. He was educated at Clifton College and Gonville and Caius College, Cambridge, where he studied law. He then embarked on a career as a businessman with his father-in-law, J.P. Jacobs, whose company supplied all the elastic to Marks & Spencer.

Career
Swift made his professional debut on stage after being appointed as an assistant stage manager at Dundee Repertory Theatre in 1963. He made his television debut in 1964 as Theo Clay in the soap opera Compact. He appeared in many small-screen roles in the 1970s and 1980s, whilst in the theatre he appeared in the Royal Shakespeare Company's 1978 production of Henry VI, Part 1 at the Aldwych Theatre, and won acclaim for his performance as Frank Doel in the Ambassadors Theatre's 1981-2 production of 84, Charing Cross Road. In addition he played Montclair in the film of The Day of the Jackal (1973). Swift appeared as Dingley alongside Richard Beckinsale in the BBC situation comedy Bloomers (1979) and also appeared in several episodes of Going Straight (1978), the sequel to Porridge. Prior to this he had made a guest appearance, again with Beckinsale, in the Yorkshire Television comedy Rising Damp in which he played a suicidal tenant in the episode "Good Samaritans". But it was the role of irascible newsreader Henry Davenport in the topical comedy Drop the Dead Donkey, written by Andy Hamilton and Guy Jenkin, for which Swift became best known. He also made occasional appearances as God in the Radio 4 comedy Old Harry's Game, also written by Hamilton.

Alongside his acting career, Swift had an active interest in the behind-the-scenes aspects of media production, running the sound recording and post-production businesses Preview 1 and Preview 2 in the 1960s, before co-founding and managing Tempest Films in 1969 along with film-makers Charles Denton, Richard Marquand, Paul Watson and John Pilger. The company also produced documentaries by actor-director Kenneth Griffith.

Personal life and death
Swift was the elder brother of the actor Clive Swift, known for his role in Keeping Up Appearances, with whom he sometimes performed. He was the uncle of the academic Adam Swift and the television personality Joe Swift and their sister Rebecca. He was married to the actress Paula Jacobs, was the father of actress Julia Swift and father-in-law of actor David Bamber.

He died from complications of Alzheimer's disease on 8 April 2016, aged 85.

He is buried on the eastern side of Highgate Cemetery with his wife Paula.

Film

 * Travels with My Aunt (1972) - Detective
 * The Day of the Jackal (1973) - Montclair
 * No Sex Please, We're British (1973) - Inspector Paul
 * Who Killed Lamb? (1974, TV film) - Inspector Havelock
 * The Internecine Project (1974) - Chester Drake
 * The Assignment (1977) - Zaforteza
 * The Black Panther (1977) - Detective Chief Superintendent
 * We Think the World of You (1988) - Bill
 * Jack & Sarah (1995) - Michael

Television

 * Hamlet at Elsinore (1964) - Player King
 * The Avengers (1966) - Barber
 * Budgie (1971) - Sergeant Oxley
 * Another Sunday and Sweet F.A. (1972) - Eric Armitstead
 * War and Peace (1972) - Napoleon Bonaparte
 * Fall of Eagles (1974) - Trepov
 * Father Brown (1974) - Stephen Aylmer
 * The New Avengers (1976) - Turner
 * Richard II (1978) - Duke of Northumberland
 * Les Misérables (1978) - Troufiat
 * Going Straight (1978) - Mr. McEwan
 * Bloomers (1979) - Dingley
 * Turtle's Progress (1980) (Series 2 only) - Superintendent Rafferty
 * The Bunker (1981) - Johann Rattenhuber
 * The Day of the Triffids (1981) - Beadley
 * Winston Churchill: The Wilderness Years (1981) - Professor Lindemann
 * Freud (1984) - Joseph Breuer
 * Bergerac (1987) - Dr. Barnard
 * The Storyteller (1987) - King
 * Vanity Fair (1987) - Mr. Sedley
 * Jack the Ripper (1988) - Lord Salisbury
 * Agatha Christie's Poirot (1989) - Henry Reedburn
 * Countdown to War (1989) - Édouard Daladier
 * Drop the Dead Donkey (1990–1998) - Henry Davenport
 * Holby City (2002) - Bill Hoskins
 * Born and Bred (2004) - Euphrates

title: David Swift (actor)


text:
Joe Whalen

Joe Whalen (1916–1992) was an American tennis player in the 1930s who won a number of championships; he was originally from Millinocket, Maine, but grew up in Miami, Florida.

Career
His most significant championship win was the 1936 United States Pro Championship. He beat Charles Wood in the final.

During World War II he served in the U.S. Army and was awarded the Purple Heart. Afterwards, he promoted professional tennis, and served as a teaching pro at a number of clubs. He founded and ran a tennis court construction company in Jacksonville, Florida until his retirement.

title: Joe Whalen


text:
Dick Skeen

	Richard Edgar Skeen (March 15, 1906 – June 24, 1990) was an American professional tennis player and teacher. He was runner-up to Fred Perry in the Men's Singles in the 1941 U.S. Pro Tennis Championships, reaching as high as World No. 2 pro that year according to Ray Bowers (and No. 4 in his amateur-pro combined rankings). Skeen reached the semifinals of other tournaments on four occasions that year. Bill Tilden recommended Dick as an outstanding Tennis Teacher in California in his 1950 book, 'How to Play Better Tennis'.

Biography
Dick Skeen was born in Dallas, Texas in 1906 and died in Medford, Oregon in 1990 at age 84. Tennis player, Dale Jensen, became a student and close friend at the Balboa Bay Club, and encouraged Dick to write a tennis book, entitled Tennis Champions are Made, not Born, published in 1976. Dale used this knowledge to teach Mike Carrico. Dale and Dick remained close friends until Dick died in 1990. Skeen taught three World Champions (Jack Kramer, Louise Brough, and Pauline Betz) and forty National Champions, including Billy Talbert, George Richards, Gussie Moran, Kathleen Harter, Carole Caldwell, Julius Heldman and Jimmy Wade. Skeen was ranked No. 2, Nationally in the United States in 1941, and #1 in the National Senior 65-and-over in 1972, after a 28-year layoff.

In 1918, Skeen arrived in Southern California with his family and learned to play tennis on three courts in Hollywood. In 1931, he turned professional and began his tennis teaching career in Pasadena. Skeen became a legendary tennis teacher, according to Bill Tilden and Jack Kramer. He was known for his classic stroke production and his emphasis on the backhand chop, not the slice. After Pasadena, Skeen taught on private courts in Beverly Hills, then at the Rivera Country Club, the Balboa Bay Club, was hired by George Holstein, developer, and Larry Johnson, part owner, to design and be General Manager at the Newport Beach Tennis Club, founded the Blossom Hill Tennis Club in Los Gatos, and ended his teaching career at the Rogue Valley Country Club in Medford, Oregon.

While playing on the Professional Tennis Tour from 1935 until 1946, Skeen played and defeated these top world-class players: Bill Tilden, Don Budge, Ellsworth Vines, Fred Perry, Bobby Riggs, Karel Kozeluh, Vinnie Richards, Frank Kovacs, Welby Van Horn, Bruce Barnes, Wayne Sabin, and Lester Stoefen.

Skeen also was a tennis teacher to many Hollywood movie stars, including Errol Flynn, Bing Crosby, Gary Cooper, Cary Grant, Fred Astaire, Kirk Douglas, Ginger Rogers, Doris Day, Joseph Cotten, Merle Oberon, Johnny Weissmuller, Norma Shearer, Hugh O'Brian, Dolores del Río, Robert Stack, Efrem Zimbalist, Jr. and Cornel Wilde.

title: Dick Skeen


text:
Horace Wells

Horace Wells (January 21, 1815 – January 24, 1848) was an American dentist who pioneered the use of anesthesia in medicine, specifically the use of nitrous oxide (or laughing gas).

Early life
Wells was the first of three children of Horace and Betsy Heath Wells, born on January 21, 1815, in Hartford, Vermont. His parents were well-educated and affluent landowners, which allowed him to attend private schools in New Hampshire and Amherst, Massachusetts. At the age of 19 in 1834, Wells began studying dentistry under a two-year apprenticeship in Boston. The first dental school did not open until 1840 in Baltimore.

At age 23, Wells published a booklet "An Essay on Teeth" in which he advocated for his ideas in preventive dentistry, particularly for the use of a toothbrush. In his booklet, he also described tooth development and oral diseases, where he mentioned diet, infection, and oral hygiene as important factors.

Career
After he completed dental training in Boston, Wells opened his own office in Hartford, Connecticut on April 4, 1836. Between 1841 and 1845, Wells became a reputable dentist in Hartford, where he had many patients and attracted apprentices. Among his patients were respected members of society such as William Ellsworth, the governor of Connecticut. His three apprentices were John Mankey Riggs, C. A. Kingsbury, and William T. G. Morton. In 1843, Wells and Morton started a practice in Boston and Wells continued to instruct Morton. John Riggs later became a partner of him.

Wells first witnessed the effects of nitrous oxide on December 10, 1844, when he and his wife Elizabeth attended a demonstration by Gardner Quincy Colton billed in the Hartford Courant as "A Grand Exhibition of the Effects Produced by Inhaling Nitrous Oxide, Exhilarating, or Laughing Gas." The demonstration took place at Union Hall, Hartford. During the demonstration, a local apothecary shop clerk Samuel A. Cooley became intoxicated by nitrous oxide. While under the influence, Cooley did not react when he struck his legs against a wooden bench while jumping around. After the demonstration, Cooley was unable to recall his actions while under the influence, but found abrasions and bruises on his knees. From this demonstration, Wells realized the potential for the analgesic properties of nitrous oxide, and met with Colton about conducting trials.

The following day, Wells conducted a trial on himself by inhaling nitrous oxide and having John Riggs extract a tooth. Upon a successful trial where he did not feel any pain, Wells went on to use nitrous oxide on at least 12 other patients in his office. In 1844, Hartford did not have a hospital, so Wells sought to demonstrate his new findings in either Boston or New York. In January 1845 he chose to go to Boston where he had previously studied dentistry, and his former student and associate William Morton resided. Wells and Morton's practice had been dissolved in October 1844, but they remained in contact. Morton was enrolled in Harvard Medical School at the time and agreed to help Wells introduce his ideas, and provide him with dental instruments, although Morton was skeptical about the use of nitrous oxide.

He gave a demonstration to medical students in Boston at the end of January 1845. However, the gas was improperly administered, and the patient cried out in pain. The patient later admitted that although he cried out in pain, he remembered no pain and did not know when the tooth was extracted. It was later found that the gas is not as effective on both obese people and alcoholics—the patient was both. After the embarrassment of his failed demonstration, Wells immediately returned home to Hartford the next day. From this point on, his mental health declined, and his dental practice became sporadic.

On February 5, 1845, Wells advertised his home for rent. On April 7, 1845, Wells advertised in the Hartford Courant that he was going to dissolve his dental practice, and referred all his patients to Riggs, the man who had extracted his tooth.

In October 1846, Morton gave a successful demonstration of ether anesthesia in Boston. Following Morton's demonstration, Wells published a letter accounting his successful trials in 1844 in an attempt to claim the discovery of anesthesia. His efforts in establishing his claim were mostly unsuccessful.

Despite his advertisement for dissolving his practice in April 1845, Wells sporadically continued his practice, with his last daybook entry being on November 5, 1845.

Later years
Wells closed his office nine times and relocated six different times between 1836 and 1847. He closed his office due to ill health, although his physician could not find any physical cause for his non-specific complaints. He mentioned his recurring illness in a letter to his sister Mary Wells Cole in April 1837. He also became ill shortly after marrying Elizabeth Wales in 1838 and having his only son Charles Thomas Wells. During winter months, he would not write letters to any family or friends, except for his published letter in 1846 after Morton's ether demonstration.

Wells definitively ended his dental practice in late 1845 and began selling shower baths for which he received a patent on November 4, 1846. He also planned to sail to Paris to purchase paintings to resell in the United States. He traveled to Paris in early 1847, where he petitioned the Academie Royale de Medicine and the Parisian Medical Society for recognition in the discovery of anesthesia.

Wells moved to New York City in January 1848, leaving his wife and young son behind in Hartford. He lived alone at 120 Chambers St in Lower Manhattan and began self-experimenting with ether and chloroform, and he became addicted to chloroform. The effects of sniffing chloroform and ether were unknown.

Wells rushed into the street on January 21, 1848, his 33rd birthday, and threw sulfuric acid over the clothing of two prostitutes. He was committed to New York's infamous Tombs Prison. As the influence of the drug waned, his mind started to clear and he realised what he had done. He asked the guards to escort him to his house to pick up his shaving kit. He committed suicide in his cell on January 24, slitting his left femoral artery with a razor after inhaling an analgesic dose of chloroform. He is buried at Cedar Hill Cemetery in Hartford, Connecticut.

Legacy
Twelve days before his death, the Parisian Medical Society voted and honored him as the first to discover and perform surgical operations without pain. In addition, he was elected an honorary member and awarded an honorary MD degree. However, Wells died unaware of these decisions. Wells first voiced his concern for minimizing his patient's pain during dental procedures in 1841. He was known for caring about his patient's comfort. During his time as a dentist, Wells advocated for regular check ups for dental hygiene, and also began the practice of pediatric dentistry in order to start dental care early.

The American Dental Association honored Wells posthumously in 1864 as the discoverer of modern anesthesia, and the American Medical Association recognized his achievement in 1870.

Hartford, Connecticut, has a statue of Horace Wells in Bushnell Park.

A monument to Horace Wells was raised in the Place des États-Unis, Paris.

The Baltimore College of Dental Surgery awarded him an honorary posthumous degree (Doctor of Dental Surgery, DDS.) on October 10, 1990.

In popular culture

 * The story of Dr. Wells' self-experimentation with drugs was explored in an episode of Science Channel's Dark Matters: Twisted But True in a story entitled "Jekyll vs Hyde", comparing it to the Strange Case of Dr Jekyll and Mr Hyde.
 * A full-length theatrical production, entitled Ether Dome, written by Elizabeth Egloff and directed by Michael Wilson centers around the story of Horace Wells' discovery of nitrous oxide as an anesthetic, as well as the life of his protege and partner, William Morton.

title: Horace Wells


text:
Frank Kovacs

Frank Kovacs (December 4, 1919 – February 1990) was an American amateur and professional tennis player in the mid-20th century. He won the U.S. National Indoor Tennis Championships singles title in 1941. He won the World Professional Championships tournament in 1945 in San Francisco. Kovacs was successful on clay and won the Great Lakes Professional Clay Court Championships near Chicago in 1946, defeating Riggs in the final, and five U.S. Professional Clay Court Championships from 1948 to 1953. Kovacs won U.S. Professional Championships or International Professional Championships at Cleveland in 1951. He also won the U.S. Professional Challenge Tour in 1947 against Bobby Riggs.

Kovacs was ranked the world No. 1 professional tennis player in two different years, by the WPTA (World Professional Tennis Association) for 1945 and by the PTPA (Professional Tennis Players Association) for 1951.

Biography
Kovacs' father was a Hungarian immigrant upholsterer. In his youth he had tennis lessons at the Berkeley Tennis Club. Kovacs had a reputation as an eccentric tennis player and showman on the court. Once, serving for a match point, he tossed three balls in the air - hitting the middle one for an ace. He was known to jump into the stands to applaud his opponents, and once staged a sit-down strike during a match. A newspaper article in 1940 said "Kovacs' comments as he races about the court are remindful of Bob Hope or Milton Berle before a microphone, and that these ad libs are spoken in a voice that overcomes the poor acoustics of a tennis court and are audible to everyone in the gallery." Jack Kramer writes in his autobiography that Kovacs "was a big attractive guy, with a great smile—sort of a Nastase type, only harmless, not mean." He goes on to say that during an important match against Joe Hunt "Kovacs looked up at an airplane. Hunt mimicked him, so Kovacs lay down for a clearer view, and Hunt did the same, and they were both soon lying flat out on the turf watching an airplane fly by while the fans watched them."

Amateur
In July Kovacs reached the quarter-finals of the Oregon championships in Portland before losing to Elwood Cooke. Later in the month he lost in the quarter-finals of the Washington State championships in Seattle to Dick Bennett.
 * 1936

In May Kovacs won the Central California championships beating Ed Amark in the final. In June Kovacs was beaten in the final of the California State Championship tournament at Berkeley. Dick Bennett of the University of California tennis team defeated him in five sets. John Murio, former California state champion, said Kovacs was better at 17 years of age than Don Budge. Murio opposed Budge, when Budge was 17, in various tournaments around California. In July Kovacs beat Walter Senior to win the Ohio championships. In July, Kovacs won the Badger State Championships beating Donald Leavens in the final. In August, Kovacs won the Port Stockton tournament beating Ed Amark in the final.
 * 1937

In May Kovacs beat 16 year old Jack Kramer in the final to win the California State championship. In very hot conditions in the third round at the Newport Casino event in August, Kovacs faced William Murphy. Murphy won the first set and then led 3-1 lead in the second. In the fourth game, Kovacs slumped to the ground and had to be assisted to the dressing room. He lost in the third round of the 1938 U. S. National championships to Gene Mako.
 * 1938

Kovacs beat Eddie Alloo in the final of the Northern California indoor tournament in San Francisco in February. Kovacs beat Alloo in the final to win the California State championships in May. In June, Kovacs beat Tom Brown and Nick Carter to win the Central California championships.
 * 1939

Kovacs was not selected by the USLTA to the U.S. Davis Cup team due to a controversy over his tennis coach and did not play in Europe. Kovacs also missed much of the season due to an arm injury or "tennis elbow". Kovacs recovered enough to play in October but lost to reigning Wimbledon and U. S. champion Bobby Riggs in the final of the Pacific Coast championships in five sets, despite leading 5-2 in the fifth set. Kovacs had missed much of the year and was not ranked for 1939.

In May, Kovacs beat Welby Van Horn to win the California State Championships for the third year in a row. In June Kovacs beat Frank Parker in straight sets in the final of the Triple A tournament in St. Louis. In July, Kovacs beat Elwood Cooke in five sets in the final to win Nassau Country Club Invitation Tournament in New York. In July, Kovacs beat Seymour Greenberg to win Eastern Slopes Gold Racquet tournament in New Hampshire. In August he beat Bobby Riggs in the semifinals at Southampton before losing to Don McNeill in the final. Kovacs beat young Vic Seixas from two sets to love down in the third round of the U. S. Nationals. He lost in the quarter-finals in straight sets to Joe Hunt. In October Kovacs lost in the final of the Pacific Coast championships to Riggs. In December, Kovacs beat Bobby Riggs in the final of the Oklahoma indoor tournament. Kovacs was the No. 3 ranked American amateur by the USLTA in 1940.
 * 1940

In January Kovacs beat Eddie Alloo in the final of the Dixie tournament in Tampa. In January, Kovacs beat Riggs in the quarter-finals of the Florida state tournament in Orlando and went on to beat Jack Kramer in the semis and Don McNeill in the final. In January, Kovacs beat Riggs in four sets to win the title at St. Petersburg, Florida. In February, Kovacs beat Riggs in the final of the University of Miami event from two sets to love down. Kovacs won the title at the U.S. National Indoor Tennis Championships in March, which was held at the Oklahoma Coliseum, after three-straight-set wins in the semifinal against Riggs and in the final against Wayne Sabin. In April, Kovacs won the River Oaks tournament in Houston beating Kramer in the semifinals and Bitsy Grant in the final. In June, Kovacs won at Orange Lawn Tennis Club, N.J. on grass, defeating Kramer in the final. In August, Kovacs won the Eastern Grasscourt Championships at the Westchester Country Club in Rye, N.Y., defeating Schroeder, McNeill, and Sabin in three-straight-set matches. Kovacs was runner-up in the U.S. National Championships at Forest Hills, beating Jack Kramer and Don McNeill before losing to top-seeded Bobby Riggs in a five-set final. Kovacs beat Riggs in the final of the Pacific Coast championships in October, allowing Riggs just five games in three sets. "I've never seen Frank play better tennis. He played brilliantly and outplayed me all the way. I have never taken a worse beating" said Riggs after the match. Kovacs won nine tournaments in 1941, defeating Riggs in five of those events. After the Pacific Coast final the Oakland Tribune reported that "it was their nineteenth encounter and Kovacs' seventh victory". Kovacs was ranked the No. 2 American amateur in 1941 by the USLTA. He was ranked the world No. 3 behind Riggs and Perry in a combined amateur-professional ranking for 1941 compiled by Ray Bowers in 2006.
 * 1941

Kovacs was also responsible for something of a scandal over money in tennis, which before the Open era was strictly divided into amateurs and professionals. After he was barred from amateur tennis in 1941 (leaving with a characteristic witticism - "Amateur tennis stinks - there's no money in it any more."), he talked about how money was quietly - and widely - paid to supposedly amateur players for entering tournaments.

Professional
After being evicted from the amateur ranks, Kovacs and Riggs turned professional at the same time, both signing a professional contract in November 1941 for $25,000 guarantees.

From December 1941 through April 1942 the Pro tour consisted of round-robin matches between Don Budge, Bobby Riggs, Fred Perry, and Kovacs (with Gene Mako, Lester Stoefen and even Bill Tilden, for one match, as replacements for the injured Kovacs and Perry). Budge ended up with the best record, 52 wins to 18 losses, ahead of Riggs 36-36 and Kovacs, 25 wins to 26 losses. Kovacs led the early part of the tour mainly because he defeated Budge in their first five matches. Kovacs missed one month of play on this tour due to an arm injury. Kovacs was ranked world No. 3 in a combined professional-amateur ranking in February, 1942 behind Budge and Riggs.
 * 1942

After the tour he entered the U.S. Pro Championships at Forest Hills and reached the semifinals, losing to Riggs. As with the other great pros of the time, he then joined the U.S. Army. From 1943 to the end of WWII, Kovacs served in the army.

Though the tennis activity was very limited between 1943 and 1945 Kovacs defeated the players he was able to play against such as Welby Van Horn, Don McNeill, Adrian Quist, Bill Tilden, Jack Crawford, Jack Jossi, Martin Buxby, Joe Whalen, George Lott, George Lyttleton Rogers. Kovacs played matches in Australia in 1943 against Australian amateurs. At Brisbane on 28 and 29 August, Kovacs played Crawford. Kovacs won in straight sets on 28th, but lost in three sets on 29th. On 26 November at Brisbane, Kovacs beat Crawford for the loss of two games. The following day, Kovacs beat Crawford in straight sets. He beat Quist on 4 September in Sydney. In March, 1945 Kovacs won the World Professional Championships tournament in San Francisco organized by the WPTA (World Professional Tennis Association), defeating Van Horn in the final. Kovacs was ranked the world No. 1 professional tennis player for 1945 by the WPTA, ahead of 2) Van Horn 3) Budge 5) Riggs. Budge was reported to be out of condition due to military duties. Tilden ranked Kovacs as No. 2 behind Budge. YANK, The Army Weekly, stated that of the professional tennis players serving in uniform, "the best of them was Frank Kovacs".
 * 1943-1945

Kovacs was recalled to military duty in July and was reported to be in hospital in August, thus missing the USPLTA U.S. Pro won by Van Horn over a depleted field.

In the 1946 world professional tournament series organized by the Professional Players Association, Kovacs won the California State Pro Championship at Beverly Hills at the Beverly Wilshire Hotel on cement (defeating Perry in the final), the Southwestern Pro at Phoenix indoor (defeating Earn in the final), the Southern California Pro at Santa Barbara on cement (defeating Perry in the final), the Texas State Pro at Dallas on grass (defeating Van Horn in the final in five sets). Kovacs displayed his skill on clay, winning the Cotton State Pro in Birmingham Ala. on clay (defeating Earn in the final), the Michigan State Pro at Kalamazoo on clay (defeating Riggs in the final), and the Great Lakes Pro Championships in the Chicago area at the Knollwood Club in Lake Forest, Ill. on clay (defeating Riggs in the final in five sets). Kovacs did not play in the northeastern portion of the tournament series, and in the final point standings, Kovacs finished third behind Riggs and Budge. Of the 31 tournaments, Riggs won 14, Kovacs won 7, Perry won 4, Budge won 3, and Van Horn won 2.
 * 1946

The World Professional Players Association was formed, led by Riggs and Budge, but disappeared before the end of the year. Kovacs lost to Riggs in the U.S. Pro Indoor semifinal at Philadelphia on wood in March. In April, Kovacs began an 11-match two-man tour with Riggs, who organized the tour, the U.S. Professional Challenge Tour. Kovacs scored six match wins against Bobby Riggs' five to win the tour, the final and deciding match of best-of-five sets being postponed until early September with the series tied at five wins each. In late April and May, Kovacs won three tournaments in New York State, at Buffalo (over Riggs in the final), at Rochester (over Earn in the final) and at Troy on canvas (over Van Horn in the final). Riggs withdrew from the quarter-finals at Rochester and Troy due to a foot problem, but it was reported that in the doubles final at Troy, Riggs "ran like a scared rabbit despite reports of an injured foot". Kovacs lost to Riggs in the U.S. Pro at Forest Hills semifinal on grass in June. On September 2, Kovacs won the decider of the U.S. Professional Challenge Tour over Riggs in three straight sets using "a devastating series of well-placed backhand shots and cannonball serves." Kovacs and Riggs both won seven matches against each other on the year. The WPPA organization disappeared before the end of the year and did not issue any official rankings.
 * 1947

Kovacs won the North Florida Pro championships in St. Augustine in January beating Bill Lufler in the final. Kovacs won U.S. Professional Clay Court Championships at Miami in December (defeating Jimmy Evert in the final). Kovacs said in a statement after the match he renounced the title for the following reasons: "First - the tournament was not sanctioned by the Professional Lawn Tennis Association. (PLTA). Second there was not a full representative field of ranking players competing for the title. As of Jan. 1, 1949. I will participate only in PLTA sanctioned tournaments." The PLTA ranked Kovacs joint third with Budge.
 * 1948

In January Kovacs won the U. S. Pro Clay Court Championships in St. Augustine. In the semis he beat Segura. "Kovacs had his serve working wonders and used his power". In the final he overcame Van Horn in five-sets.
 * 1949

Kovacs won the U. S. Pro Clay Court Championships in March over Van Horn in the final, displaying an agile change of pace. In June, at the U.S. Pro Tennis Championships at the Cleveland Skating Rink on clay, Kovacs defeated Parker in the quarter-finals, losing only one game in a three-straight-set win. Parker was the reigning French champion on clay. Kovacs then defeated Riggs in four sets to reach the final. In the final, at 4-4 in the fourth set, he developed leg cramps and retired, losing to Segura, who had defeated Kramer in the other semifinal. Kovacs won the Canadian Pro Championships at Quebec City on clay in September (over Van Horn in the final). Kovacs was third in the PLTA rankings.
 * 1950

Kovacs won the U. S. Pro Clay Court Championships in March over Earn in the final. In June Kovacs and Parker would play against each other in the semifinals of the Canadian Professional Championships at Quebec City on clay, Kovacs winning in straight sets (Kovacs lost to Segura in four sets in the final). Kovacs' greatest pro tournament result was winning the International Pro Championships or US Pro Tennis Championships (according to the PTPA) held at Lakewood on cement just outside Cleveland in June 1951. He defeated Budge in a long semifinal and Pancho Segura in the final in five sets, saving five match points against him in the fifth set before winning. Kovacs was awarded the Benrus Cup, emblematic of the U.S. Pro Championships. A week later he withdrew from the Forest Hills version of the U.S. Pro Tennis Championships (organized by Riggs and Kramer) won by Segura. Kovacs was vice-president of the PTPA, which supported the rival Cleveland event, and Riggs and Kramer did not play at Cleveland that year. In early August 1951, shortly after beginning a tour with George Lyttleton Rogers and Frank Parker, Kovacs and Lyttleton Rogers disappeared and did not play scheduled fixtures, leaving Parker on his own. Kovacs and Lyttleton Rogers were longtime friends, and Rogers was married on September 2 in California. Kovacs was ranked the world No. 1 professional tennis player for 1951 by the PTPA (Professional Tennis Players Association), ahead of Segura, Gonzales, and Kramer, in that order.
 * 1951

In March 1952, at age 32, Kovacs defeated Pancho Gonzales in the Philadelphia Masters indoor on wood, despite losing the first eight games of the match. Kovacs lost all of his remaining matches (including his other match against Gonzales) in this round-robin event where four players played each other twice. This was Gonzales' only loss in the tournament, as he beat Kramer twice, beat Segura twice, and split the two matches with Kovacs. Kovacs was ranked the world No. 3 professional in the PTPA annual rankings for 1952 behind Segura and Gonzales. The USPLTA pro rankings for 1952 and published in Lawn Tennis & Badminton placed Kovacs at No. 3 behind Segura and Gonzales.
 * 1952

An injured Kovacs won the U. S. Pro Clay Court Championships in January at Hollywood Beach, Fla. over Riggs in the final in three straight sets. The 1953 win over Riggs marked Kovacs' seventh U.S. national singles title.
 * 1953

Kovacs won the 1954 Florida Pro Championships at Fort Lauderdale on clay, defeating Riggs in the final. "Kovacs' power and accurate placements to the corners, plus a number of service aces, spelled the difference in the deciding set." Kovacs was ranked fifth by the International Professional Tennis Association.
 * 1954

In March, 1955 Kovacs defeated Nick Carter in a pro exhibition match in San Francisco in straight sets. Immediately after this match, Kovacs played in the Cleveland World Pro or U.S. Pro played that year under the VASS scoring system. Kovacs defeated Riggs to reach the semifinal where he lost a very close match to Gonzales. Two months later he played Pancho Gonzales in two matches using the VASS scoring system at the California Tennis Club in San Francisco and nearly beat him in both matches. Kovacs was ranked third in 1955 by the International Professional Tennis Association.
 * 1955

Kovacs continued to play in the Cleveland World Pro or U.S. Pro, the one major tournament which he had won. Ironically, the Sports Illustrated article of his 1957 appearance at Cleveland claimed that Kovacs "...has the finest collection of strokes in tennis but has never cashed in on this potential," despite the fact that Kovacs had previously won the event in 1951. Kovacs was ranked sixth for 1957 in the Jack March professional rankings, just ahead of Kramer at seventh. He spent his later years teaching tennis at the Davie Tennis Stadium in Piedmont, in Florida and at public courts near his home in Oakland.
 * Later years

Playing style and assessment
Kovacs won many clay events, including the Great Lakes Professional Clay Court Championships near Chicago and also five U. S. Professional Clay Court Championships. He reached two U.S. Pro finals at Cleveland, on clay in 1950 and on cement in 1951, winning the latter. Kovacs also reached the semifinals of the US Pro a further eight times. He lost five U.S. Pro semifinals at Forest Hills on grass. Kovacs did not play in the U.S. Clay Court Championships after 1938, or at Roland Garros or in Davis Cup, events where he would have been expected to achieve some success. Kovacs won a head-to-head series on an indoor surface against Riggs, with both players reportedly in excellent form throughout the matches. It was said of him that on the right days, when he was "in the zone", he could be unbeatable. Fred Hawthorne, reporter for New York Herald-Tribune who watched nearly all the early matches of the 1941-1942 pro tour thought that Kovacs at his best reached "sheer brilliancy never before excelled", but at other times Frank played "surprisingly poor tennis." Kovacs had an arm injury in that tour and missed one month of play. In his first pro match, on December 26, 1941 he defeated Don Budge, and won his first five matches against Budge on that tour.

Bowers evaluated Kovacs' playing style, "Kovacs was nearly two years younger than Riggs, of whom he was a direct opposite. Frank was rangy, about 6' 4", and served with lethal velocity. Riggs termed Frank's stroking "tremendously powerful" from both sides—often brilliant but sometimes erratic. Generally uninterested in coming to net, Frank preferred beating opponents from backcourt. Budge later said that the Kovacs backhand was the best he had ever seen. (Tilden wrote that it was second only to Budge's.)" Kovacs' net game improved during the 1940s, with a report from 1947 that "Kovacs had the losers shaking their heads by the sheer brilliance of his net game". In an assessment from July 1951, it was stated that "Kovacs, present world pro champ, gained his formidable spot through booming serves and a sound net game....", indicating that his net play had developed.

Tennis great Jack Kramer, Kovacs' near contemporary and rival, wrote: "Kovacs had picture strokes, maybe the best Backhand, but he could never win anything because he didn't have any idea how to go about winning.  He never had a set plan for a match.  Hell, he never had a set plan for a shot.  He could sort of decide what to do with it halfway through the stroke." Kovacs' best shot, says Kramer, was "a hard, angled backhand crosscourt, but he could never figure out how to set it up so he could take advantage of it." Riggs reportedly said to Kramer one day: "...don't worry about Frankie.... He looks great, but give him long enough and he'll find some way to keep you in the match, and give him a little longer and he'll find a way to beat himself." Nevertheless, Kovacs had many notable wins over Riggs, and a very positive win–loss record against Kramer. In the Philadelphia Inquirer in March 1950, it was said Kovacs led Kramer 16-0 in their head to heads as amateurs. TennisBase states Kramer led 4-0 in their meetings as pros, all four matches played in the Philadelphia indoor tournament on wood.

Personal life
Kovacs was married to San Francisco vocal coach Judy Davis in 1950 and they lived for many years in their home in the Rockridge district of Oakland, until his death in 1990. His first marriage, on July 14, 1941, was to Virginia Wolfenden, also a tennis professional; they had a son, Frank Jr.

His cousin was the entertainer Ernie Kovacs.

title: Frank Kovacs


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Alex Olmedo

Alejandro "Alex" Olmedo Rodríguez (March 24, 1936 –December 9, 2020) was a tennis player from Peru with American citizenship. He was listed by the USTA as a "foreign" player for 1958, but as a U.S. player for 1959. He helped win the Davis Cup for the United States in 1958 and was the No. 2 ranked amateur in 1959. Olmedo won two Majors in 1959 (Australia and Wimbledon) and the U.S. Pro Championships in 1960, and was inducted into the Tennis Hall of Fame in 1987.

Biography
Although born and raised in Peru, Olmedo moved to Southern California and was mentored by Perry T. Jones, president of the Southern California Tennis Association at the Los Angeles Tennis Club (LATC). George Toley recruited him to play for the University of Southern California (USC). Olmedo graduated with a business degree from USC. While there, he won the National Collegiate Athletic Association (NCAA) Singles and Doubles Championships in 1956 and 1958. (In 1957, USC was excluded from NCAA competition due to a financial contribution violation involving the football program which also suspended the tennis team.)

Olmedo was ranked as the world No. 2 in 1959 by Lance Tingay of The Daily Telegraph.

Perry T. Jones was Davis Cup captain in 1958 and recruited Olmedo from Modesto Junior College to play on the team. He represented the U.S. in Davis Cup competition in 1958 and 1959, winning in both singles and doubles – achieving all three of the three points required to win the Cup in 1958 (two singles and one doubles). His teammates were Ham Richardson and Barry MacKay, when they won the Cup in 1958. Although he was not a U.S. citizen, he was technically eligible to represent the U.S. in Davis Cup because he had lived in the country for at least three years (since February 1954) and because Peru, his country of citizenship, did not have a Davis Cup team in those particular years. However, his participation was very controversial. Sports columnist Arthur Dailey at The New York Times wrote "This would seem to be the saddest day in the history of American tennis. A few more such rousing victories and the prestige of this country in tennis will sink to a new low." At the time, Olmedo, who held a student visa, refused to file for U.S. citizenship, said he was content to remain a Peruvian citizen, and denied he was refusing to apply for U.S. citizenship to avoid being drafted into the military. Still, many Americans "took a dim view of the largest nation in the competition stooping to borrow a little player from Peru to win the Cup". Olmedo eventually became a U.S. citizen many years later.

Olmedo won the Australian Championships and the Wimbledon singles titles in 1959 and was the runner-up at the 1959 U.S. Championships, losing to Neale Fraser, whom he defeated in the Australian Championships earlier that year. At 1959 Wimbledon, he defeated Rod Laver in 71 minutes 6–4, 6–3, 6–4. Olmedo turned professional in 1960, and that year, won the US Pro title by beating Tony Trabert in the final.

Olmedo was inducted into the International Tennis Hall of Fame in 1987. He spent over 40 years teaching tennis at the Beverly Hills Hotel in California. His clients included Katharine Hepburn, Robert Duvall, and Jon Lovitz.

Olmedo's marriage to Ann Olmedo ended in divorce. He had a son Alejandro Jr., two daughters Amy and Angela, and four grand children. Olmedo died on December 9, 2020, at the age of 84 from cancer in Los Angeles.

title: Alex Olmedo


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Neil Pearson

Neil John Pearson (born 27 April 1959) is a British actor, known for his work on television. He was nominated for the 1994 BAFTA TV Award for Best Actor for Between the Lines (1992–1994). His other television roles include Drop the Dead Donkey (1990–1998), All the Small Things (2009), Waterloo Road (2014–2015), and In the Club (2014–2016). His film appearances include all three of the Bridget Jones films. He is also an antiquarian book dealer who specialises in the expatriate literary movement of Paris between the World Wars.

Early life
Pearson grew up in Battersea and Balham, London. His father, a panel beater, left home when he was five; his mother was a legal secretary. He was a boarder at Woolverstone Hall School near Ipswich, Suffolk where he first learned to act. He attended the Central School of Speech and Drama from 1977 to 1980.

Stage, television and film work
One of Pearson's early appearances was in 1984 alongside Leonard Rossiter in Joe Orton's play Loot at the Lyric Theatre in London; Rossiter died in his dressing-room during a later performance. He won a part in Hat Trick Productions' sitcom Chelmsford 123 and also appeared with Hat Trick executive Jimmy Mulville in That's Love. Pearson narrated Colin Wyatt's animated series The Poddington Peas in 1986.

It was in the roles of associate editor and office lothario and gambling addict, Dave Charnley, in the sitcom Drop the Dead Donkey - another Hat Trick show - and of Detective Superintendent Tony Clark in the thriller Between the Lines (1992–94), that he made his greatest impact on the viewing public.

Since then he has appeared in such varied roles as Dr Jameson in Rhodes (1996), Jack Green in the children's serial The Magician's House (1999), Trevor Heslop in Trevor's World of Sport (2003) and John Diamond in A Lump in My Throat (2003). He has also been in several films, including The Secret Rapture (1993), Fever Pitch (1997) and Bridget Jones's Diary (2001). He played Major Steve Arnold, the American interrogator, in Taking Sides at the Yvonne Arnaud Theatre in 2003. He played Rob in The Booze Cruise (2003), and then also in the second and third sequels in 2005 and 2006. He appeared in the 2006 Radio Four series Vent as Ben. He played the choirmaster Michael Caddick in the BBC drama All the Small Things in 2009. He also appeared in episodes of Midsomer Murders and Lewis - in the former, appearing alongside Drop the Dead Donkey co-star Jeff Rawle; and in the latter, again playing a gambling addict alongside Haydn Gwynne, another star of Drop the Dead Donkey - and played Doug Anderson in an episode of Death in Paradise in 2013.

In the Inspector George Gently episode Goodbye to China (2011), Pearson acts as a former Sergeant of DCI Gently, who now has risen in rank above his former master. In 2014 Pearson became a series regular in Waterloo Road as new headteacher Vaughan Fitzgerald.

Pearson was a judge on Channel 4's The Play's the Thing, which sought to find a play written by an unknown writer for a run in the West End. The winning play, written by Kate Betts, was called On the Third Day and opened at the New Ambassadors Theatre in London in June 2006. Pearson appeared in a touring revival of Sir Peter Hall's production of Harold Pinter's Old Times in 2006, and in a production of Tom Stoppard's play Arcadia at the Duke of York's Theatre, London, in 2009.

After obtaining a collection of original Hancock's Half Hour radio scripts and realising that some of the corresponding recordings no longer existed, he conceived and subsequently co-produced The Missing Hancocks, a series of re-creations of selected wiped episodes for BBC Radio 4, which debuted in October 2014.

In 2020, he was in season 8, episode 4 of Father Brown. He also appeared as Eric Morley in an episode of The Reckoning (2023), a miniseries about the life of Jimmy Savile.

Pearson has acted in several BBC Radio Dramas including the black comedy series Vent as comatose writer Ben Smith, adaptations of the Martin Beck novels playing Beck's sidekick Detective Lennart Kollberg, and House of Ghosts: A Case for Inspector Morse where he played the late Colin Dexter's iconic fictional detective Inspector Morse.

Antiquarian book business
Pearson is the author of a book on the publisher Jack Kahane, Obelisk: A History of Jack Kahane and the Obelisk Press. He is a collector of rare drama scripts and in 2011 he opened an online bookshop specialising in theatrical material. He has a special interest in the expatriate literary movement of Paris between the wars.

Personal interests
He strongly identifies with the British Left - having made a party election broadcast for the Labour Party for the 1994 European Elections, though he later supported Ken Livingstone when Livingstone ran as an independent candidate for Mayor of London in 2000. For many years he has also supported the National Council for One Parent Families, having written about his family background for the organisation, and also raised £32,000 for the charity on a celebrity edition of Who Wants to Be a Millionaire?.

He is a keen Texas hold 'em poker player and participated in the 2007 World Series of Poker Europe event in London. Pearson is also a fan of Tottenham Hotspur and regularly attends home games. In 2007 he assisted with fundraising to renovate the Bristol Old Vic Theatre.

title: Neil Pearson


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Butch Buchholz

Earl Henry "Butch" Buchholz, Jr. (born September 16, 1940) is a former professional tennis player from the United States who was one of the game's top players in the late 1950s and early 1960s.

Juniors
Buchholz was an outstanding junior, winning all three of the Boys' Singles slam titles in a row during 1958–1959:
 * French Open: (1958)
 * Wimbledon: (1958)
 * Australian Open: (1959)

Buchholz also won the U.S. National Boys’ 18 title in Kalamazoo, Michigan in 1958.

On February 10, 1959, he appeared as a mystery contestant on the television quiz show To Tell the Truth, where he was described as holding the “grand slam” of junior tennis titles in France, England, Australia and the United States.

Amateur/Pro Tour
Buchholz was ranked by Lance Tingay the world No. 5 amateur player in 1960 and ranked four times in the U.S. top 10. He played for the United States in the Davis Cup in 1959 and 1960. Buchholz reached the semifinals of the U.S. Championships in 1960, losing to Rod Laver in five sets.

Buchholz turned professional in 1961. He won the United States Pro Championship in 1962, beating Pancho Segura in the finals. Buchholz was an original member of Lamar Hunt's Handsome Eight, a group of players signed by in 1968 for the newly formed professional World Championship Tennis.

Retirement
Since retiring as a player, Buchholz has served tennis in many professional and administrative capacities. He has been the Commissioner of World Team Tennis from 1977 to 1978, an executive director of the Association of Tennis Professionals from 1981 to 1982, and member of the men's pro council from 1981 to 1983.

In 1985, Buchholz founded the Lipton International Players Championships (now known as the Miami Open), which is a leading event on both the men's and women's tours. One of the courts there is named after Buchholz.

Buchholz helped create Altenis, a management company which oversees tennis tournaments in Latin America. He also helped secure the continuation of the Orange Bowl International Tennis Tournament, a prominent international junior event in Florida. In 1992, Buchholz teamed with Arthur Ashe to found the Good Life Mentoring Program, benefiting hundreds of elementary and middle school children in the greater Miami area.

In 2005, Buchholz was inducted into the International Tennis Hall of Fame in Newport, Rhode Island.

title: Butch Buchholz


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Max Weber (artist)

Max Weber (April 18, 1881 – October 4, 1961) was a Jewish-American painter and one of the first American Cubist painters who, in later life, turned to more figurative Jewish themes in his art. He is best known today for Chinese Restaurant (1915), in the collection of the Whitney Museum of American Art, "the finest canvas of his Cubist phase," in the words of art historian Avis Berman.

Early years
Born in the Polish city of Białystok, then part of the Russian Empire, Weber emigrated to the United States and settled in Brooklyn with his Orthodox Jewish parents at the age of ten. He studied art at the Pratt Institute in Brooklyn under Arthur Wesley Dow. Dow was a fortunate early influence on Weber as he was an "enlightened and vital teacher" in a time of conservative art instruction, a man who was interested in new approaches to creating art. Dow had met Paul Gauguin in Pont-Aven, was a devoted student of Japanese art, and defended the advanced modernist painting and sculpture he saw at the Armory Show in New York in 1913.

In 1905, after teaching in Virginia and Minnesota, Weber had saved enough money to travel to Europe, where he studied at the Académie Julian in Paris and acquainted himself with the work of such modernists as Henri Rousseau (who became a good friend), Henri Matisse, Pablo Picasso, and other members of the School of Paris. His friends among fellow Americans included some equally adventurous young painters, such as Abraham Walkowitz, H. Lyman Sayen, and Patrick Henry Bruce. Avant-garde France in the years immediately before World War I was fertile and welcoming territory for Weber, then in his early twenties. He arrived in Paris in time to see a major Cézanne exhibition, meet the poet Guillaume Apollinaire, frequent Gertrude Stein's salon, and enroll in classes in Matisse's private "Academie." Rousseau gave him some of his works; others, Weber purchased. He was responsible for Rousseau's first exhibition in the United States.

America
In 1909 he returned to New York and helped to introduce Cubism to America. He is now considered one of the most significant early American Cubists, but the reception his work received in New York at the time was profoundly discouraging. Critical response to his paintings in a 1911 show at the 291 gallery, run by Alfred Stieglitz, was an occasion for "one of the most merciless critical whippings that any artist has received in America." The reviews were "of an almost hysterical violence." He was attacked for his "brutal, vulgar, and unnecessary art license." Even a critic who usually tried to be sympathetic to new art, James Gibbons Huneker, protested that the artist's clever technique had left viewers with no real picture and made use of the adage, "The operation was successful, but the patient died." As art historian Sam Hunter wrote, "Weber's wistful, tentative Cubism provided the philistine press with their first solid target prior to the Armory Show."

Weber was sustained by the respect of some eminent peers, such as photographers Alvin Langdon Coburn and Clarence White, and museum director John Cotton Dana, who saw to it that Weber was the subject of a one-man exhibition at the Newark Museum in 1913, the first modernist exhibition in an American museum. For a few years, Weber enjoyed a productive if rocky relationship with Stieglitz, and he published two essays in Stieglitz's journal Camera Work. (He also wrote Cubist poems and published a book, Essays on Art, in 1916.) So poor was Weber in these years that he camped out for some weeks in Stieglitz's gallery. Weber was also closely acquainted with Wilhelmina Weber Furlong and Thomas Furlong, whom he met at the Art Students League, where he taught from 1919 to 1921 and 1926 to 1927. Weber died in Great Neck, New York in 1961. He was the subject of a major retrospective at the Jewish Museum in 1982.

Weber evidently was a prickly personality even with his allies. He and Stieglitz had a falling-out, and Weber was not represented in the famous Armory Show because his friend, Arthur B. Davies, one of the show's organizers, had only allotted him space for two paintings. In a fit of pique at Davies, he withdrew entirely from the exhibition. Other artists in the Stieglitz circle kept their distance, especially after Weber told people that there were only three indisputably great modern painters: Cézanne, Rousseau, and himself. "Almost without exception, they found him obnoxious: opinionated, rude, intolerant."

Success
In time, Weber's work found more adherents, including Alfred H. Barr, Jr., the first director of the Museum of Modern Art. In 1930, the Museum of Modern Art held a retrospective of his work, the first solo exhibition at that museum of an American artist. He was praised as a "pioneer of modern art in America" in a 1945 Life magazine article. In 1948, Look magazine reported on a survey among art experts to determine the greatest living American artists; Weber was rated second, behind only John Marin. He was the subject of a major traveling retrospective in 1949. He became more popular in the 1940s and 1950s for his figurative work, often expressionist renderings of Jewish families, rabbis, and Talmudic scholars, than for the early modernist work he had abandoned circa 1920 and on which his current reputation is founded.

Not everyone believed that Weber fulfilled his early potential as he became a more representational and expressionist painter post-World War I. Critic Hilton Kramer wrote of him that, in light of the remarkable beginning of his career, "Weber proved instead to be one of the great disappointments of twentieth-century American art." Others however, because of his bold "Cubist decade," hold him in the same high regard as other native modernists like John Marin, Arthur Dove, Marsden Hartley, and Charles Demuth.

Poetry
While lecturing at the Clarence H. White School for Photography, Weber wrote his Cubist Poems that were to be published in 1914. In 1926, the artist released another collection entitled "Primitives: Poems and Woodcuts." Weber designed the modernist-style binding for the book, as well as providing eleven woodcuts for the illustrations. First published by Spiral Press in a run of 350 copies, original editions are now rare.

 * High, low and high, and higher, higher,
 * Far, far out, out, far..

 * Billions of things upon things
 * This for the eye, the eye of being,
 * At the edge of the Hudson,
 * Flowing timeless, endless,
 * On, on, on, on....
 * Excerpt from The Eye Moment, a Weber poem published in 1914

Collections
Collections containing Weber's work include:

 * Addison Gallery of American Art
 * Art Institute of Chicago
 * Berkshire Museum
 * Blanton Museum of Art
 * Brooklyn Museum
 * Cleveland Museum of Art
 * Corcoran Gallery of Art
 * Crystal Bridges Museum of American Art
 * Detroit Institute of Art
 * Fred Jones Jr. Museum of Art
 * Harvard Art Museums
 * Hirshhorn Museum and Sculpture Garden
 * Huntington Library
 * Jewish Museum (New York)
 * Los Angeles County Museum of Art
 * Mary and Leigh Block Museum of Art
 * Memorial Art Gallery
 * Memphis Brooks Museum of Art
 * Metropolitan Museum of Art
 * Museum of Fine Arts, Boston
 * Museum of Modern Art
 * National Gallery of Art
 * Newark Museum
 * New Britain Museum of American Art
 * New Jersey State Museum
 * Phillips Collection
 * Reynolda House Museum of American Art
 * Sheldon Museum of Art
 * Smithsonian American Art Museum
 * Terra Foundation for American Art
 * Thyssen-Bornemisza Museum
 * University of Reading Art Collection
 * Virginia Museum of Fine Arts
 * Walker Art Center
 * Westmoreland Museum of American Art
 * Whitney Museum of American Art
 * Wichita Art Museum

Published works

 * Weber, Max (1914). Cubist Poems (2012, HardPress; ISBN 1407718533)

title: Max Weber (artist)


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Tony Roche

Anthony Dalton Roche AO MBE (born 17 May 1945) is an Australian former professional tennis player.

A native of Tarcutta, Roche played junior tennis in the New South Wales regional city of Wagga Wagga. He won one Grand Slam singles title, the 1966 French Open at Roland Garros, and 15 Grand Slam doubles titles.

In 1968, Roche won the WCT/NTL combined professional championship in men's singles in the final event of the season at Madison Square Garden. He was ranked World No. 2 by Lance Tingay of The Daily Telegraph in 1969.

He won the U.S. Pro Championships in 1970 at Longwood in Boston. Roche won the New South Wales Open twice, in 1969 and 1976. He won a key Davis Cup singles match in 1977.

He also coached multi-Grand Slam winning world No. 1s Ivan Lendl, Patrick Rafter, Roger Federer and Lleyton Hewitt as well as former World No. 4 Jelena Dokic.

Amateur
Roche started to play tennis at school when he was nine. His father, who worked as a butcher, and his mother were both recreational tennis players and encouraged his interest. Roche grew up playing in Australia under the tutelage of Harry Hopman, who also coached other Australian tennis players such as Rod Laver and Ken Rosewall.

Roche had a successful singles and double career. He won one singles Grand Slam tournament, the 1966 French Open at Roland Garros, defeating István Gulyás in the final. He was five times the runner-up at Grand Slam tournaments: the French Championships in 1965 and 1967, losing to Fred Stolle and Roy Emerson respectively, Wimbledon in 1968, losing to Rod Laver, and the US Open in 1969 and 1970, losing to Rod Laver and Ken Rosewall. With compatriot John Newcombe, he won 12 Grand Slam men's doubles tournaments.

Professional
In January 1968, Roche turned professional, signing with World Championship Tennis, joining other pros like John Newcombe, Cliff Drysdale, Nikola Pilić and Roger Taylor to form the "Handsome Eight". Roche was guaranteed $125,000 annually, an amount equivalent to the annual salary of Willie Mays, the top paid baseball player.

Roche was the leading money winner on the WCT tour in 1968. In the 1968 final for the combined WCT/NTL professional tours at Madison Square Garden, Roche defeated Rod Laver in the semifinal and Pancho Gonzales in the final to become the combined professional champion for 1968.

Roche held a personal head-to-head edge over Laver during the latter's Grand Slam season of 1969, 5 to 4. Roche and Laver played a classic match against each other in the 1969 Australian Open at Brisbane. Roche also contested the final match of Laver's Grand Slam run that year, the 1969 U.S. Open final.

Roche won the U.S. Pro Championships at Longwood, Boston in 1970, defeating Laver in a hard fought five set final. Roche won two New South Wales Open titles, in 1969 over Rod Laver in a close four-set final, and in 1976 against Dick Stockton in the final.

Perhaps one of his greatest achievements came in 1977, playing singles in the finals of the Davis Cup tournament versus Italy, nearly 10 years since he had last played for Australia. In the tie, Roche upset top Italian Adriano Panatta, 6–3, 6–4, 6–4 to lead Australia to a 3–1 victory, winning the Davis Cup.

Shoulder and elbow injuries cut short his career after having finished in the top 10 for six consecutive years.

Coaching career
After completing his playing career, Roche has developed a highly successful career as a tennis coach. He was the player-coach of the Denver Racquets who won the first World Team Tennis in competition 1974, and he was named WTT Coach of the Year. Ivan Lendl hired Roche in 1985 as a full-time coach for Roche's advice on volleying. Lendl dreamed of winning Wimbledon, and because Roche had been a fine grass court player, he sought his tutelage. Roche also coached former world no. 1 Patrick Rafter from 1997 to the end of his career in 2002. Roche coached world no. 1 Roger Federer from 2005 to 12 May 2007. It is reputed this was on a "handshake agreement" with no contract; Roche was paid by the week. Federer hired Roche for the opposite reason that Lendl hired him: to work on his clay-court game (as Roche had won the 1966 French Championships). He also coached two-time Grand Slam singles titlist Lleyton Hewitt, who was aiming to get his career back on track after a number of unsuccessful years on the ATP Tour.

Honours
Roche was made a Member of the Order of the British Empire (MBE) in 1981 and an Officer of the Order of Australia (AO) in 2001. He entered the International Tennis Hall of Fame alongside doubles partner and close friend John Newcombe in 1986. In 1990 he was inducted into the Sport Australia Hall of Fame. He received an Australian Sports Medal in 2000 and a Centenary Medal in 2001.

title: Tony Roche


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Cliff Drysdale

Eric Clifford Drysdale (born 26 May 1941) is a South African former tennis player. After a career as a highly ranked professional player in the 1960s and early 1970s, he became a tennis announcer.

Biography
Born Eric Clifford 'Cliff' Drysdale in Nelspruit (today known as Mbombela, Mpumalanga Province, South Africa) on May 26, 1941 and completed his high school at Grey High School, Port Elizabeth.

Drysdale won the singles title at the Dutch Open in 1963 and 1964. In 1965, he reached the singles final of the 1965 U. S. Championships and he won the singles title at the German Championships. He defeated Rod Laver in the fourth round of the first US Open in 1968. During his Open-era career, Drysdale captured five singles titles and six doubles titles, including the 1972 US Open doubles crown with Roger Taylor. He was a pioneer of the two-handed backhand shot, which he used to great effect during his playing career.

Drysdale was included among the Handsome Eight, a group of players signed by Lamar Hunt in 1968 for the newly formed professional World Championship Tennis group. He became president of the Association of Tennis Professionals (ATP), an association that Drysdale had formed in 1972 with Jack Kramer and Donald Dell.

Following retirement, Drysdale became a naturalized American citizen. He has been a tennis commentator for ESPN since the network's inception in 1979. In 1998, the USTA awarded Drysdale the William M. Johnston award for his contribution to men's tennis. In 2013, he was elected into the International Tennis Hall of Fame.

Grand Slam singles performance timeline
Note: The Australian Open was held twice in 1977, in January and December.

title: Cliff Drysdale


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Category talk:British television presenters

British television or British presenters?
Since this category is a subcategory of Category:British people, then everyone listed here should be British. However, that leaves a gap: non-British presenters on British television. For example: Des Lynam, Graham Norton, Terry Wogan (all Irish). Putting them in this category as it stands is clearly wrong; but these individuals, and no doubt others, clearly belong somewhere in the vicinity of this category. Any ideas? -- Avaragado 22:17, 31 Jul 2004 (UTC)

 * Another question. Even though he made a name for himself on American TV, should Richard Dawson be on this list because he was born in England? JB82 20:12, 12 May 2005 (UTC)

 * So...is it "(British television) presenters" or "British (television presenters)"? Burns flipper 11:05, 24 April 2006 (UTC)


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Tom Okker

Thomas Samuel Okker (nicknamed "the Flying Dutchman"; born 22 February 1944) is a Dutch former tennis player who was active from the mid-1960s until 1980. He won the 1973 French Open Doubles, the 1976 US Open Doubles, and two gold medals at the 1965 Maccabiah Games in Israel. He was ranked among the world's top-ten singles players for seven consecutive years, 1968–74, reaching a career high of world No. 3 in 1974. He also was ranked world No. 1 in doubles in 1969.

Early life
Okker was born in Amsterdam, is Jewish on his father's side, and identifies as Jewish. Okker's father was Jewish, and was imprisoned by the Nazis during World War II, but managed to go into hiding by assuming the papers and identity of another man.

Tennis career
He played his first tournament at Wolfsburg, West Germany, on clay in 1963. Okker was the Dutch champion from 1964 through 1968.

In 1968, his first year as a registered professional, he won in singles and in doubles (with Marty Riessen) at the Italian Open. At Wimbledon, Okker reached the quarterfinals in 1968 and the semifinals in 1978. He achieved his best result in a Grand Slam tournament at the 1968 US Open, where he competed as a registered professional player, a professional player allowed to compete for prize money but playing under the control of their national associations and eligible to play in Davis Cup. Okker reached the final after defeating Pancho Gonzales in the quarterfinal and Ken Rosewall in the semifinal. He lost the final to Arthur Ashe in five sets. Okker was awarded the first prize money at the 1968 U.S. Open, as Ashe was still considered an amateur player rather than a registered professional. In February 1969, Okker signed a four-year contract with the Lamar Hunt's World Championship Tennis.

In his career, won 40 singles titles. He also was the runner-up in 37 singles tournaments.

Okker is also among the most successful men's doubles players of all time. He won two Grand Slam doubles titles, at the US Open in 1976 (with Riessen) and the French Open (with John Newcombe) in 1973. In total, Okker won 68 doubles events, a record that was finally broken by Todd Woodbridge in 2005. Okker's other doubles titles include the 1973 Italian Open, 1973 London Grass Courts (with Riessen), 1973 Spanish Open (with Ilie Năstase), 1975 Opel International (with Arthur Ashe), and 1978 WCT World Doubles (with Wojtek Fibak).

One of the first tennis professionals to win at least US$1 million in career prize money, Okker's WTC career earnings stood at $1,257,200 when he retired in 1980 ($0 today).

Davis Cup
Between 1964 and 1981, Okker represented the Netherlands in the Davis Cup, playing in 13 ties and accumulating a 15–20 win–loss record.

Maccabiah Games
In 1965, Okker won both the singles and the mixed doubles titles at the 1965 Maccabiah Games in Israel. This event is open to all Israelis and to non-Israeli Jews.

Style of play
He was among the first players of his era to hit the ball with heavy topspin.

Halls of Fame
Okker was inducted into the International Jewish Sports Hall of Fame in 2003.

He was nominated for consideration in 2018, but not inducted into the International Tennis Hall of Fame.

Personal life
Okker and his wife Anna-Marie have three children together. Since the mid-1980s Okker has been involved in art and was a founding partner in the Jaski art gallery in Amsterdam, specializing in works of the CoBrA movement. In 2005, he founded art gallery Tom Okker Art bv in Hazerswoude-Dorp, Netherlands, where he now lives.

title: Tom Okker