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Specific weight

The specific weight, also known as the unit weight  (symbol $γ$, the Greek letter gamma), is a volume-specific quantity defined as the weight per unit volume of a material.

A commonly used value is the specific weight of water on Earth at 4 C, which is 9.807 kN/m3.

Definition
The specific weight, $γ$, of a material is defined as the product of its density, $ρ$, and the standard gravity, $g$: $$\gamma = \rho \, g$$

The density of the material is defined as mass per unit volume, typically measured in kg/m3. The standard gravity is acceleration due to gravity, usually given in m/s2, and on Earth usually taken as $9.81 m$.

Unlike density, specific weight is not a fixed property of a material. It depends on the value of the gravitational acceleration, which varies with location. Pressure may also affect values, depending upon the bulk modulus of the material, but generally, at moderate pressures, has a less significant effect than the other factors.

Fluid mechanics
In fluid mechanics, specific weight represents the force exerted by gravity on a unit volume of a fluid. For this reason, units are expressed as force per unit volume (e.g., N/m3 or lbf/ft3). Specific weight can be used as a characteristic property of a fluid.

Soil mechanics
Specific weight is often used as a property of soil to solve earthwork problems.

In soil mechanics, specific weight may refer to:

Moist unit weight: The unit weight of a soil when void spaces of the soil contain both water and air. $\gamma = \frac{(1+w)G_s\gamma_w}{1+e}$ where
 * $γ$ is the moist unit weight of the material
 * $γ_{w}$ is the unit weight of water
 * $w$ is the moisture content of the material
 * $G_{s}$ is the specific gravity of the solid
 * $e$ is the void ratio

Dry unit weight: The unit weight of a soil when all void spaces of the soil are completely filled with air, with no water.

The formula for dry unit weight is: $\gamma_d = \frac{G_s\gamma_w}{1+e} = \frac{\gamma}{1+w}$ where
 * $γ$ is the moist unit weight of the material
 * $γ_{d}$ is the dry unit weight of the material
 * $γ_{w}$ is the unit weight of water
 * $w$ is the moisture content of the material
 * $G_{s}$ is the specific gravity of the solid
 * $e$ is the void ratio

Saturated unit weight: The unit weight of a soil when all void spaces of the soil are completely filled with water, with no air.

The formula for saturated unit weight is: $\gamma_s = \frac{(G_s+e)\gamma_w}{1+e}$ where
 * $γ_{s}$ is the saturated unit weight of the material
 * $γ_{w}$ is the unit weight of water
 * $G_{s}$ is the specific gravity of the solid
 * $e$ is the void ratio

Submerged unit weight: The difference between the saturated unit weight and the unit weight of water. It is often used in the calculation of the effective stress in a soil.

The formula for submerged unit weight is: $\gamma' = \gamma_s - \gamma_w$ where
 * $γ′$ is the submerged unit weight of the material
 * $γ_{s}$ is the saturated unit weight of the material
 * $γ_{w}$ is the unit weight of water

Civil and mechanical engineering
Specific weight can be used in civil engineering and mechanical engineering to determine the weight of a structure designed to carry certain loads while remaining intact and remaining within limits regarding deformation.

title: Specific weight


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User talk:Ez4me2c3d

This is my wikipedia page.

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User:Ez4me2c3d

Hi.

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Jamie Cureton

Jamie Cureton (born 28 August 1975) is an English former professional footballer who played as a striker. He is currently manager of Cambridge City.

He began his career at Norwich City in 1994, and after the club's relegation from the Premier League at the end of the season, has spent the majority of his career in England's lower leagues, apart from a season at South Korean side Busan I'Cons in 2003. One of only 29 footballers in the world to have made over 1,000 competitive appearances, his career has spanned nine tiers of the football pyramid from the Premier League to the Essex Senior League, and has seen him score over 350 goals.

He has played professionally in the Football League for AFC Bournemouth, Bristol Rovers, Reading, Queens Park Rangers, Swindon Town, Colchester United, Barnsley, Shrewsbury Town, Exeter City, Leyton Orient and Cheltenham Town, as well as in non-league for Dagenham & Redbridge, Farnborough, Eastleigh, St Albans City, Bishop's Stortford and Hornchurch. He represented England at under-18 level.

Early years
Born in Bristol, Cureton began his professional career with Norwich City, before moving on to Bristol Rovers. In 1993, he turned down an offer from Manchester United to stay at Carrow Road. An England youth international, he achieved significant status with the Norwich fans when he dyed his hair yellow and green for an Old Farm derby game against Ipswich Town in 1996 and subsequently scoring in the same fixture. He was sold by Mike Walker to Bristol Rovers in 1996.

Bristol Rovers
Cureton enjoyed a prolific spell at his hometown club. This was particularly the case during the 1999–2000 season where he struck up a partnership with Jason Roberts that almost took the club to promotion. After the club dipped out of the play-off places on the final day of the season he decided his future lay with pastures new, and headed to Reading.

Reading
Cureton moved to Reading in 2000, playing there for three years. While at the club, the Reading supporters' trust had a newly discovered star in the "Perseus" constellation named after him. Here he struck a formidable partnership with Martin Butler, becoming one of the most feared combinations in the Football League. In his first season (2000–01), he scored 30 goals, including a goal in the play-off final against Walsall, a game which Reading went on to lose 3–2. The following season however, it was Cureton who scored the goal to get Reading promoted. He scored the equaliser against Brentford in the closing stages, with a deft flick to help it over the keeper, into the corner of the net.

Busan I'Cons
Cureton then made a mid-2003 switch to K League side Busan I'Cons (now Busan IPark), playing under former Chelsea manager Ian Porterfield. He failed to settle in East Asia however, describing the move as "another big mistake" in 2014. Cureton's time playing in South Korea is documented in the book, Who Ate All the Squid?: Football Adventures in South Korea.

Return to England
After being released from his contract at Busan, he returned to England and joined Queens Park Rangers on 30 January 2004. One of the more memorable of the six goals he scored there was a volley from a tight angle against Coventry City which echoed Marco Van Basten's goal against USSR in the Euro 1988 final. After a mostly unsettled season at Loftus Road though, he joined Swindon Town in June 2005.

He failed to make his mark in his first spell at the club and subsequently joined Colchester United on loan. He then briefly returned to Swindon Town as they failed to avoid relegation to League Two. After Swindon's relegation, Cureton activated a clause in his contract that allowed him to leave Swindon on a free transfer, and rejoined Colchester on a permanent basis. His first full season with the U's proved to be hugely successful as the Essex club managed a 10th-place finish in the Championship, partnering Chris Iwelumo.

One of Cureton's main highlights in a Colchester shirt was the hat-trick he scored in the 3–0 away win against Essex rivals Southend United on 7 April 2007.

His 23 goals in the 2006–07 season gave him the Championship Golden Boot as the league's top scorer, and made him the first Colchester United striker since Tony Adcock to score 20 league goals in a season; the first for 22 years.

On 5 June 2007, due to agent demands, Cureton handed in a transfer request to Colchester United, citing Colchester's ambitions differing from his own. This inevitably fuelled speculation that Cureton might return to Norwich City, the club where he began his career. Cureton himself stated that he would like to return to the club.

Colchester initially rejected the transfer request, saying that Cureton was an important part of the club's future and that they wanted to keep him, though Norwich City manager Peter Grant confirmed that he would like to sign Cureton. Cureton moved to Norwich City for £825,000 on 29 June 2007. He was signed as a replacement for Robert Earnshaw, Norwich's top scorer of the 2006–07 season, who left for Derby County in a £3.5 million deal the same day.

Norwich City
After his success at Colchester United, Cureton had a disappointing return to Norwich City.

He scored his first goals for Norwich since re-signing against King's Lynn at The Walks. This was followed up by another goal on Norwich's pre season tour of Holland against AGOVV Apeldoorn.

He then scored two in the League Cup against Barnet and two on his league debut for Norwich against Southampton.

Cureton continued to play very much a bit part during the season and one of his few goals came during the Canaries' 1–0 win at Scunthorpe United, a victory that lifted Norwich clear of the relegation places ahead of the Christmas and New Year fixtures.

Due to lack of first team football, on 27 November 2008, Cureton joined Barnsley on a 3-month loan deal, but on 14 January 2009, he was recalled to Norwich City after Glenn Roeder's termination as manager.

When Norwich played Barnsley on the following weekend, the Canaries were 4–0 victors with Cureton scoring their second. Cureton played his 100th game for Norwich City against Coventry but put in a bad performance and was dropped for the rest of the season.

The following season, newly appointed manager Paul Lambert started Cureton for the first three games, only to drop him to the bench for the next two games, leaving him an unused sub for both.

Cureton scored his first two goals of the season, against Leyton Orient and Bristol Rovers, both in which he came on as a late sub. Cureton scored the winning penalty in a Football League Trophy match against Swindon. However this was to be his last appearance for Norwich as after this he failed to even secure a place on the bench. After being loaned out to Shrewsbury for the remainder of the season Cureton was released by Norwich City.

Cureton joined Shrewsbury Town on loan until the end of the 2009–10 season on 16 February 2010 from Norwich. After a number of starts and a number of unimpressive performances, he was sent back to Norwich prematurely.

Exeter City and Leyton Orient
Cureton spent the 2010 pre-season on trial with Exeter City, stating he would like to link up with a club closer to his Bristol home, and joined on a short-term deal in August 2010. A contract extension saw him continue with the Grecians until the end of 2010–11, a season in which he finished as the club's top scorer, with 20 goals in all competition,s and won the Supporter's Player of the Year and Player's Player of the Year awards. A deal was offered for Cureton to stay at Exeter for 2011-12 was declined by Cureton, who instead joined Leyton Orient in June 2011. He scored his first and only goal for the O's on 7 January 2012, in a 4–1 loss at Carlisle United, before re-joining Exeter on loan just under two months later. He scored one goal in seven appearances as the Grecians were relegated from League One. Cureton was released by Orient after the expiry of his contract in May 2012, and signed a permanent deal with Exeter in July 2012. He played 42 games in 2012–13, scoring 21 goals, but was released at the end of the season.

Cheltenham Town

On 17 June 2013, it was announced that Cureton had agreed terms on a one-year deal with Cheltenham Town. He ended the season with 11 goals in 36 appearances which included 12 substitute appearances. He was released by the club on 7 May 2014.

Dagenham & Redbridge
On 24 July 2014, Cureton agreed a one-year deal with League Two side Dagenham & Redbridge, the 14th club of his senior career. Following the retirements of Ryan Giggs and Kevin Phillips and Ian Goodison's departure from Tranmere Rovers, 39-year-old Cureton was the oldest onfield player in all four of England's top divisions. He was awarded player of the Year 2014–15 at the Daggers on the last home game of the season.

Later career
Cureton signed a short-term contract with Farnborough in August 2016, before moving to Eastleigh of the National League the following month. In early December, he departed Eastleigh after a change of management, and briefly re-joined Farnborough, scoring in his first game since returning to the club in a 3–2 home defeat against Hanwell Town, before joining St Albans City that same month. He returned to Farnborough in April 2017 on dual registration for the remainder of the 2016–17 season, and in July a permanent deal of one year was agreed. Having scored ten goals in 23 league appearances for Farnborough, Cureton joined Bishop's Stortford midway through the 2017–18 season, making his début in a 3–0 defeat to Royston Town on 1 January 2018. In April 2019, Cureton reached the landmark of 1,000 senior club appearances, scoring twice as Bishop's Stortford beat Brightlingsea Regent 3–2. In 2019 he signed dual registration terms with Enfield, who groundshare with Bishop's Stortford. After being sent off eight minutes into his debut on 8 October, he scored in his second appearance on 24 October, becoming the first player to score in the top nine levels of English football. In February 2020, Cureton signed for Isthmian Premier League side Hornchurch. In June 2020, following a brief spell at the club in the 2019–20 season, Cureton signed for Enfield.

On 7 October 2023, Cureton, after announcing his retirement from senior football, joined fellow Isthmian League side Maldon & Tiptree as a coach and was part of the coaching staff for his first game against former club Enfield. He came out of retirement as a player in March 2024, appearing as a late substitute in Maldon & Tiptree's 1–0 defeat to Wroxham on 2 March.

Coaching career
Cureton was appointed as an assistant coach at Arsenal's academy in September 2017.

Following the resignation of Adam Flint in September 2018, Cureton became manager of Bishop's Stortford alongside club owner Steve Smith, as an interim to begin with. They guided Stortford to a seventh-place finish in the Isthmian Premier that season. In October 2019 he took sole charge of the position.

In September 2020, he was appointed manager while still an active player at Enfield, becoming player-manager. During the 2022–23 season, Cureton guided Enfield to the Essex Senior League title and promotion to the eighth tier. He departed the club on 11 September 2023.

On 7 October 2023, Cureton, after announcing his retirement from senior football, joined fellow Isthmian League side Maldon & Tiptree as a coach and was part of the coaching staff for his first game against former club Enfield.

On 17 May 2024, Cureton was appointed manager of Isthmian League North Division club Cambridge City.

As a player
Reading
 * Football League Second Division runner-up: 2001–02

Queens Park Rangers
 * Football League Second Division runner-up: 2003–04

Individual
 * Football League Championship Golden Boot: 2006–07
 * PFA Team of the Year: 2012–13 League Two

As a manager
Enfield
 * Essex Senior Football League Champions: 2022–23

title: Jamie Cureton


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Norma Talmadge

Norma Marie Talmadge (May 2, 1894 – December 24, 1957) was an American actress and film producer of the silent era. A major box-office draw for more than a decade, her career reached a peak in the early 1920s, when she ranked among the most popular idols of the American screen.

A specialist in melodrama, her most famous film was Smilin’ Through (1922), but she also scored artistic triumphs teamed with director Frank Borzage in Secrets (1924) and The Lady (1925). Her younger sister Constance Talmadge was also a movie star. Talmadge married millionaire film producer Joseph M. Schenck and they successfully created their own production company. After reaching fame in the film studios on the East Coast, she moved to Hollywood in 1922.

Talmadge was one of the most elegant and glamorous film stars of the Roaring '20s. However, by the end of the silent era, her popularity with audiences had waned. After her two talkies proved disappointing at the box office, she retired still a very wealthy woman.

Early life
According to her birth certificate, Talmadge was born on May 2, 1894, in Jersey City, New Jersey. Although it has been widely reported she was born in Niagara Falls, New York, after achieving stardom, she admitted that she and her mother provided the more scenic setting of Niagara Falls to fan magazines to be more romantic. Talmadge was the eldest daughter of Frederick O. Talmadge, an unemployed chronic alcoholic, and Margaret "Peg" Talmadge. She had two younger sisters, Natalie and Constance, both of whom also became actresses. The girls' childhoods were marked by poverty. One Christmas morning, Fred Talmadge left the house to buy food, and never came back, leaving his wife to raise their three daughters. Peg took in laundry, sold cosmetics, taught painting classes, and rented out rooms, raising her daughters in Brooklyn, New York.

After she told her mother about a classmate from Erasmus Hall High School who modeled for popular illustrated song slides (which were often shown before the one-reeler in movie theaters so the audience could sing along), Mrs. Talmadge decided to locate the photographer. She arranged an interview for her daughter, who after an initial rejection, was soon hired. When they went to the theater to see her debut, Peg resolved to get her into motion pictures.

Early films

Norma Talmadge was the eldest of the three daughters and the first pushed by their mother to look for a career as a film actress. Mother and daughter traveled to Vitagraph Studios in Flatbush, New York, just a streetcar ride from her home. They managed to get past the studio gates and in to see the casting director, who promptly threw them out. However, scenario editor Beta Breuil, attracted by Talmadge's beauty, arranged a small part for her as a young girl who is kissed under a photographer's cloth in The Household Pest (1909).

Thanks to Breuil's continued patronage, between 1911 and 1912 Talmadge played bit parts in over 100 films. She eventually earned a spot in the stock company at $25 per week and got a steady stream of work. Her first role as a contract actress was 1911's Neighboring Kingdom, with comedian John Bunny. Her first real success came with Vitagraph's three-reel adaptation of A Tale of Two Cities (1911), in which she played the small role of the unnamed seamstress who accompanies Sidney Carton to the guillotine. With help from the studio's major star, Maurice Costello, the star of A Tale of Two Cities, Talmadge's acting improved. She continued to play roles from leads to extras, gaining experience and public exposure in a variety of characters—from a colored mammy to a clumsy waitress to a reckless young modern. She began attracting both public and critical notice. By 1913, she was Vitagraph's most promising young actress. That same year, she was assigned to Van Dyke Brooke's acting unit, and throughout 1913 and 1914, appeared in more films, frequently with Antonio Moreno as her leading man.

In 1915, Talmadge got her big break, starring in Vitagraph's prestigious feature film The Battle Cry of Peace, an anti-German propagandist drama, but ambitious Peg saw that her daughter's potential could carry them further, and got a two-year contract with National Pictures Company for eight features at $400 per week. Talmadge's last film for Vitagraph was The Crown Prince's Double. In the summer of 1915, she left Vitagraph. In the five years she had been with Vitagraph, she made over 250 films.

In August, the Talmadges left for California, where Norma's first role was in Captivating Mary Carstairs. The whole enterprise was a fiasco; the sets and costumes were cheap and the studio itself lacked adequate backing. The film was a flop, and the small new studio shut down after the film's release. The demise of National Pictures Company left the family stranded in California after only one picture. Deciding it was smarter to aim high, they went to Triangle Film Corporation, where D. W. Griffith was supervising productions. On the strength of The Battle Cry, Talmadge got a contract with Griffith's Fine Arts Company. For eight months, she starred in seven features for Triangle, including the comedy The Social Secretary (1916), written by Anita Loos and directed by John Emerson, which gave her an opportunity to disguise her beauty as a girl trying to avoid the unwelcome attentions of her male employers.

Norma Talmadge Film Corporation
When the contract ran out, the Talmadges returned to New York. At a party, Talmadge met Broadway and film producer Joseph M. Schenck, a wealthy exhibitor who wanted to produce his own films. Immediately taken by Talmadge both personally and professionally, Schenck proposed marriage and a production studio. Two months later, on October 20, 1916, they were married. Talmadge called her much older husband "Daddy". He supervised, controlled, and nurtured her career in alliance with her mother.

In 1917, the couple formed the Norma Talmadge Film Corporation, which became a lucrative enterprise. Schenck vowed he would make his wife the greatest star of all, one to be remembered always. The best stories, most opulent costumes, grandest sets, talented casts, and distinguished directors, along with spectacular publicity, would be hers. Before long, women around the world wanted to be the romantic Norma Talmadge and flocked to her extravagant movies filmed on the East Coast.

Schenck soon had a stable of stars operating in his studio in New York, with the Norma Talmadge Film Corporation making dramas on the ground floor, the Constance Talmadge Film Corporation making sophisticated comedies on the second floor, and the comic unit with Roscoe "Fatty" Arbuckle on the top floor, with Natalie Talmadge acting as secretary and taking occasional small roles in her sisters' films. Arbuckle brought in his nephew Al St. John and vaudeville star Buster Keaton. When Schenck decided it was financially advantageous to rent Arbuckle to Paramount Pictures for feature films, Keaton took over the comedy unit and was soon brought into the Talmadge family fold, at least for a time through an unhappy arranged marriage to Natalie Talmadge.

Talmadge's first film for her studio, the now lost Panthea (1917), was directed by Allan Dwan with assistants Erich von Stroheim and Arthur Rosson. The film was a dramatic tour de force for her in a story set in Russia of a woman who sacrifices herself to help her husband. The film was a hit, turning Talmadge into a sensation and established her as a first-rate dramatic actress.

Talmadge's acting ability improved rapidly during this period. She made four to six films a year in New York between 1917 and 1921. Under Schenck's personal supervision, other films followed, including Poppy (1917), in which she was paired with Eugene O'Brien. The teaming was such a hit they made 10 more films together, including The Moth and The Secret of the Storm Country, a sequel to Tess of the Storm Country (1914), starring Mary Pickford.

In 1918, she reteamed with Sidney Franklin, who directed The Safety Curtain, Her Only Way, Forbidden City, The Heart of Wetona, and 1919's The Probation Wife. These films have small-scale settings and familiar actors appearing from one film to the next. An advantage of the East Coast locale was access to the country's best high-fashion designers, such as Madame Francis and Lucile. Between 1919 and 1920, Talmadge's name appeared on a regular monthly fashion advice column for Photoplay magazine; her publicist was Beulah Livingstone.

Hollywood films
Throughout the 1920s, Talmadge continued to triumph in films such as 1920's Yes or No, The Branded Woman, Passion Flower (1921), and The Sign on the Door (1921). The next year, she had the most popular film of her entire career, Smilin' Through (1922) directed by Sidney Franklin. One of the greatest screen romances of the silent film era, it was remade twice, in 1932 with Norma Shearer, and in 1941 with Jeanette MacDonald.

After Smilin' Through, Schenck closed the New York studios and Norma and Constance moved to Hollywood to join Keaton and Natalie. Talmadge's Hollywood films were different from her New York films. Bigger and glossier, they were fewer but more varied, often with period or exotic settings. She teamed with cinematographer Tony Gaudio and some of Hollywood's finest costume designers for a more glamorous image. She also worked with top-flight directors such as Frank Lloyd, Clarence Brown, and Frank Borzage. With help from films directed by her first husband Joseph M. Schenck, she became one of the highest-paid actresses of the 1920s. In 1923, a poll of picture exhibitors named Norma Talmadge the number-one box office star. She was earning $10,000 a week, and receiving as many as 3,000 letters weekly from her fans. Her film Secrets (1924), directed by Frank Borzage, marked the pinnacle of her career, with her giving her best performance and receiving the best reviews. In 1924, Schenck had moved over to head United Artists, but Talmadge still had a distribution contract with First National. She continued to make successful films such as The Lady (1925) directed by Frank Borzage and the romantic comedy Kiki (1926) directed by Clarence Brown, remade later by Mary Pickford as a sound film in 1931.

Talmadge and Anna May Wong turned the first spadeful of earth using a gold-plated shovel at the groundbreaking ceremonies for Grauman's Chinese Theatre on January 5, 1926. The theater's official account also credits Talmadge as having inspired the theater’s tradition of putting footprints in concrete when she accidentally stepped into wet concrete. However, in a short interview during the September 13, 1937, Lux Radio Theatre broadcast of a radio adaptation of A Star Is Born, Sid Grauman related another version of how he got the idea to put hand and foot prints in the concrete. He said it was "pure accident. I walked right into it. While we were building the theatre, I accidentally happened to step in some soft concrete. And there it was. So, I went to Mary Pickford immediately. Mary put her foot into it."

Decline
Talmadge's last film for First National was Camille (1926), an adaptation of a novel by Alexandre Dumas the younger later remade by Greta Garbo. During filming, Talmadge fell in love with leading man Gilbert Roland.

She asked Schenck for a divorce, but he was not ready to grant it. Despite his personal feelings, he was not going to break up a moneymaking team and continued casting Roland in Talmadge's next three films released by United Artists. Talmadge and Schenck separated, though he continued producing her films. He was now president of the prestigious but theater-poor United Artists Corporation, and the rest of Talmadge's films were released for that company. UA's distribution problems, however, began to erode her popularity. Her first films for this studio, The Dove (1927) and The Woman Disputed (1928), were box-office failures and ended up being her last silent movies.

By the time Woman Disputed (1928) was released, the talking film revolution had begun, and Talmadge began taking voice lessons in preparation. She worked diligently with voice coaches for over a year so she could make her sound debut. Her first talkie, New York Nights (1929), showed that she could speak and act acceptably in talkies. While her performance was considered to be good, the film was not. Talmadge next took on the role of Madame du Barry in the 1930 film Du Barry, Woman of Passion. With incompetent direction and Talmadge's inexperience at a role requiring very demanding vocal acting, the film was a failure, in spite of the elaborate sets by William Cameron Menzies.

On March 29, 1928, at the bungalow of Mary Pickford, United Artists brought together Talmadge, Pickford, Douglas Fairbanks, Charlie Chaplin, Gloria Swanson, John Barrymore, Dolores del Río, and D.W. Griffith to speak on the radio show The Dodge Brothers Hour to prove that Griffith could meet the challenge of talking movies.

Talmadge's sister Constance sent her a telegram with this advice: "Quit pressing your luck, baby. The critics can't knock those trust funds Mama set up for us". As time passed, it became increasingly clear that the public was no longer interested in its old favorites, and Talmadge was seen as an icon of the past. Talmadge had been increasingly bored with filmmaking before the talkie challenge came along, and this setback seems to have discouraged her from further attempts.

She still had two more films left on her United Artists contract. In late 1930, Samuel Goldwyn announced he had bought the film rights to Zoë Akins' comedy play The Greeks Had a Word for It for her. She reportedly did some stage rehearsals for it in New York, but within a few months, she asked to be released from her contract. She never again appeared on screen. (Goldwyn eventually made the film version of The Greeks Had a Word for It under the title The Greeks Had a Word for Them in 1932.)

Retirement
Upon leaving the movie world, Norma Talmadge rid herself of all the duties and responsibilities of stardom. She told eager fans who were pressing her for an autograph as she left a restaurant, "Get away, dears. I don't need you anymore and you don't need me."

Some time before late 1932, Talmadge decided against marrying Gilbert Roland, as he was 11 years her junior and she feared he would eventually leave her. Mother Peg fell ill, and died in September 1925. In late 1932, Talmadge began seeing her ex-husband Joseph Schenck's poker friend, comedian George Jessel. In April 1934, Schenck, from whom she had been separated for seven years, finally granted Talmadge her divorce, and nine days later, she married Jessel. Schenck continued to do what he could for Norma and her sisters, acting as a financial adviser and guiding her business affairs.

In 1937, Talmadge and Schenck bought the Villa Riviera in Long Beach, California for $1.5 million.

Talmadge's last professional works consisted of appearances on Jessel's radio program, which was sagging in the ratings. The program soon ended, and the marriage did not last; the couple divorced in 1939. Schenck's business acumen and her mother's watchful ambition for her daughters had resulted in a huge fortune for Talmadge, and she never wanted for money. Restless since the end of her filmmaking days, Talmadge traveled, often shuttling between her houses, entertaining, and visiting with her sisters. In 1946, she married Dr. Carvel James, a Beverly Hills physician.

Later years and death

In her later years, Talmadge, who had never been comfortable with the burdens of public celebrity, became reclusive. Increasingly crippled by painful arthritis and reported to be dependent on painkilling drugs, she moved to the warm climate of Las Vegas for her final years. According to Anita Loos' memories of Talmadge, the drug addiction came first which caused arthritis and was the basis of Norma's interest in her physician husband.

After suffering a series of strokes in 1957, Talmadge died of pneumonia on Christmas Eve of that year. At the time of her death, her estate was valued at more than US$1,000,000 (equivalent to $ million in ). She is interred with Constance and Natalie in their own niche in the Abbey of the Psalms in the Hollywood Forever Cemetery.

For her contribution to the motion picture industry, Norma Talmadge has a star on the Hollywood Walk of Fame at 1500 Vine Street.

Talmadge Street in the Los Feliz neighborhood of Los Angeles is named in honor of the silent screen star. Also, the community of Talmadge, San Diego is named for her and her sisters, and one of the community's streets is named Norma in her honor.

In popular culture
A New York Times article from March 14, 2010, says that Talmadge"is misremembered, having inspired two unfair caricatures that have lived on in a pair of popular films. In Singin' in the Rain (1952), she is parodied as Lina Lamont ... More malignantly, Billy Wilder used Norma Talmadge as the obvious if unacknowledged source of Norma Desmond, the grotesque, predatory silent movie queen of his 1950 film Sunset Boulevard." However, neither of these identifications is in the mainstream of critical opinion. Nearly all other writers regard both Norma Desmond and Lina Lamont as fictional composite characters, each mirroring some aspects of various faded silent stars, but neither of them primarily a disguised portrait of anyone in particular. Lina Lamont bears little resemblance to Talmadge's personality either on or off the screen, and, unlike the delusional Desmond, Talmadge was not stuck in the past and had left her stardom behind her with considerable relief.

Talmadge is referenced by name in Woody Allen's film Sweet and Lowdown (1999), in which the Hattie character, played by Samantha Morton, is cast in a silent film as her younger sister, and described by one character as, "...a dead ringer for May Talmadge."

In the 1960 film adaptation of William Inge's The Dark at the Top of the Stairs, young Sonny Flood, the son of Robert Preston's character Rubin Flood, collects pictures of motion picture stars. When he asks his aunt and uncle if they would like to see them, his uncle asks, "Have you got any of Norma Talmadge?" Aunt Lottie (played by Eve Arden) goes on a rant about Talmadge being a Catholic. She says, "Norma Talmadge! Norma Talmadge! That's all I hear, is 'Norma Talmadge'! Maybe you'd like to marry Norma Talmadge some day, and let the Pope tell you what to do with the rest of your life." She "gets even" with Morris, though, when she comments, seeing a picture of Rudolph Valentino, "I think it's a sin for a man to be as pretty as he is. I'd be scared stiff to let a man like him touch me."

title: Norma Talmadge


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Talk:Lennon Wall

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Writing on the wall was not initiated nor by the death of John Lennon neither by the existance of the Beatles. The wall was a wall of complains and of poetry first. ondra (talk) 10:41, 11 March 2010 (UTC)

2004
I have removed the following sentence from the article: I do not believe that the claim is accurate. Yes, it was repainted a few years ago. But it is still (legally, as far as I know) used for Lennon/Beatles/peace-related graffiti, and still an attraction of Prague. - Mike Rosoft 14:24, 12 Oct 2004 (UTC)
 * Even though the wall is listed in tourist guide books and lots of people detour to see it, authorities do not seem to consider it an attraction and repainted it white in 1998.

It was repainted by the owner, the order. There is nothing to see there now. Jan Vano, 11.11.2004
 * I went there in summer 2004, so unless it has been re-repainted since then, there is an image of Lennon on it, but lower down and now largely obscured by graffiti, also it is in bright colours, not the mono image shown in the picture Boffy b 18:26, 2005 Feb 6 (UTC)

The wall was repainted several times. In few days the pictures (of Lennon, Yellow Submarines, flowers, etc) are always back.

Low importance? Keep Lennon Wall.
Please don't delete this page! While this entry may seem insignificant to some, I happened upon it while searching "Prague" and found it intriguing. If the structural issues could be remedied, I would vote for maintaining the entry. Scout1986 (talk) 13:46, 15 June 2011 (UTC)Scout1986

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title: Talk:Lennon Wall


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My Dark Places (book)

My Dark Places: An L.A. Crime Memoir is a 1996 book, part investigative journalism and part memoir, by American crime-fiction writer James Ellroy. Ellroy's mother Geneva was murdered in 1958, when he was 10 years old, and the killer was never identified. The book is Ellroy's account of his attempt to solve the mystery by hiring a retired Los Angeles County homicide detective to investigate the crime. Ellroy also explores how being directly affected by a crime shaped his life - often for the worse - and led him to write crime novels. The book is dedicated to his mother.

Summary
Geneva Ellroy's strangled body was found by a roadside in El Monte, California. She was found by children in Babe Ruth baseball and their coaches on June 22, 1958. The road lay beside the playing field at Arroyo High School. Officers from the El Monte city police department handed over the investigation to the L.A. Sheriff’s Homicide Bureau. They chased down leads gathered from the scene and from anonymous tips sent in by area citizens. Newspaper accounts about the murder were scarce, as well as the television news accounts. There were three murders that had occurred in El Monte in 1958 by that time, and all had been resolved very quickly. After all the leads went dry, the case was eventually abandoned and never solved.

The murder of Geneva Ellroy (who was more commonly called Jean) later contributed to her son's fascination with another unsolved murder in Los Angeles: the January 15, 1947 murder of Elizabeth Short. This killing, later called the Black Dahlia case, had some similarities to Jean Ellroy's murder. Both had been body dumped by the roadside to be found by passersby. In his book, Ellroy describes the discovery of his mother’s body as a "classic late night body dump."

Jean Ellroy’s murder would not be remembered because it lacked the media attention that followed the Dahlia murder. Elizabeth Short’s body was found cut in half, and the newspaper accounts, which described Short as a beautiful Hollywood aspiring starlet, drew more interest and attention, including Ellroy's.

In The Black Dahlia, Ellroy created a fictional story around the murder of Elizabeth Short. In My Dark Places, Ellroy writes a true-crime memoir, chasing down the facts of his mother's murder as a cold case. Bill Stoner is the retired L.A. investigator who assisted Ellroy in his search for the killer. Ellroy had never seen the police file of his mother’s murder until he decided to write this book in the mid-1990s. After fifteen months of investigation, the crime remained unsolved, and any potential suspects are believed to be dead.

Continuing investigation
After the final page of the memoir, there is a page that allows information to be sent pertaining to the investigation. It states: "The investigation continues. Information on the case can be forwarded to Detective Stoner either through the toll-free number, 1-800-717-6517, or his e-mail address, detstoner@earthlink.net."

Critical reviews
The reviews for My Dark Places were quite positive. "Both a harrowing autobiography and a disturbingly fixed love story...blunt, graphic, and oddly exhilarating." —San Francisco Chronicle. "Strange and perversely fascinating....[My Dark Places] is part thriller, part screech of pain, part botched exorcism.... It is also a profoundly pessimistic meditation on the ubiquity of evil.... A candid chronicle of growing up weird under the sentence of unexpressed grief." —Newsday. "A dazzling memoir that reads half like a romance, half like the logbook for a homicide investigation.... My Dark Places is remarkable." —A. M. Homes, Bazaar. "A masterpiece.... Incredible, fascinating detail.... Ellroy is never anything but honest: All the scars are exposed... and best of all, it is all written in that familiar Ellroy style, each sentence like a finger jabbed in your chest.... This is a mesmerizing book." —Men's Journal. Ellroy's My Dark Places was a Time Best Book of the Year, as well as a New York Times Notable Book for 1996.

Publication history

 * Blakeney, Gloucestershire: Scorpion Press, 1996. Signed, limited edition.
 * London: Century Books, October 1996. First trade edition.
 * New York: Alfred A. Knopf, November 1996. First American edition.
 * For this edition, Ellroy signed (or rather initialed) 50,000 blank pages that were bound into each copy of the first printing.
 * London: Arrow, June 1997. First British trade paperback.
 * New York: Vintage, August 1997. First American trade paperback. (ISBN 0-679-76205-1)

title: My Dark Places (book)


text: Category:Eye

title: Category:Eye


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Baillaud (crater)

Baillaud is a lunar impact crater that is located near the north limb of the Moon. The rim of the crater has been eroded and worn by a long history of impacts, leaving a hilly ridge surrounding the interior. The crater Euctemon is intruding into the rim to the northeast, and the rim bulges outward to the northwest. At the south end of the crater is a gap connecting to the lava-flooded surface to the south.

The interior of Baillaud has been submerged by past lava flows, leaving a flat surface that is marked only by many craterlets and the satellite crater Baillaud E in the western half. The crater interior lacks a central peak or significant ridges.

Nearby craters include the irregular Meton formation to the southwest, and Petermann further to the east. Due to its location, Baillaud appears oblong because of foreshortening along the line of sight to Earth.

Satellite craters
By convention these features are identified on lunar maps by placing the letter on the side of the crater midpoint that is closest to Baillaud.

title: Baillaud (crater)


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Thomas F. Goreau

Thomas Fritz Goreau (August 16, 1924 in Germany - April 22, 1970 in New York) was a marine biologist who worked extensively on the coral reefs of Jamaica, and many other reefs in the Pacific, Caribbean, and Red Sea. He is the son of renowned science photographer Fritz Goro.

Career
Goreau moved from Germany to Austria at the age of 8, and lived in France and the United States, where he studied at Clark University, The University of Pennsylvania Medical School, and received his Ph.D in ecology from Yale University. In 1951 he went to lecture at the medical school at the University of the West Indies in Jamaica, and in 1956 he founded a long-term research project exploring the coral reefs of Jamaica.

Death
His work on coral reefs began in 1947, when, as a student, he became involved with the Bikini Atoll atom bomb test site in the Marshall Islands as a chemist. As the diver who collected radioactive specimens from the lagoons, he most likely received lethal radiation exposure. Consequently, he died from cancer at the age of 45.

Legacy
He built rebreather diving gear to explore the deep sea, and was the first diving marine scientist. He founded the marine laboratory at Discovery Bay, Jamaica in an abandoned urinal on a fisherman's beach in the early 1960s. The fame of his research, which pioneered most of the techniques used in modern coral reef science, led to the construction of a research lab that opened only after his death in 1970.

He pioneered the use of scuba gear as a marine research tool, the use of radioisotopes to understand the growth of corals and marine organisms, the zonation of coral reefs, and many aspects of coral reef ecology and geology. With Nora I. Goreau he did the basic work on the biology and physiology of corals and the role of algal symbiosis in their growth. They discovered many new species, and explored many other subjects. Their work showed how coral reefs function and established their great sensitivity to environmental stress. His widow Nora I. Goreau, the first Panamanian marine biologist, and son Thomas J. Goreau continue to focus their research on coral reefs.

title: Thomas F. Goreau


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Wikipedia:Articles for deletion/Tooth Fuzz

Tooth Fuzz
Vanity for unknown band, VFD along with the band members (can we speedy those?). -- Solitude 14:32, Oct 12, 2004 (UTC)
 * Delete. Does not seem very notable indeed. Unfortunately, I think it would require some slight bending of the rules to speedy delete the members' pages. jni 14:54, 12 Oct 2004 (UTC)
 * I've converted the band member article to redirects - in case the article is deleted don't forget to delete them as well. Even if the article stays they can be incorporated into the article, no need to have separate stubs for them. andy 15:38, 12 Oct 2004 (UTC)
 * One of my biggest article peeves is band articles (hey, we're on the BBC World Service right now) where people redlink all the band members. My biggest is when they turn those redlinks blue.  I'm abstaining on the band, because they seem to have records, but I can't assess their notability. Geogre 01:19, 13 Oct 2004 (UTC)
 * Delete. Less than 90 displayed hits, many of which are the band's site, and WP mirrors (and a few cleveland/ohio 'local music scene' sites). allmusic.com hasn't heard of them. I can't find anywhere to buy or hear their music (not even their sites). Niteowlneils 19:54, 15 Oct 2004 (UTC)
 * Delete: fancruft, promo. Wile E. Heresiarch 08:04, 17 Oct 2004 (UTC)


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AVG AntiVirus

AVG AntiVirus (previously known as AVG, an abbreviation of Anti-Virus Guard) is a line of antivirus software developed by AVG Technologies, a subsidiary of Avast, a part of Gen Digital. It is available for Windows, macOS and Android.

History
The brand AVG comes from Grisoft's first product, Anti-Virus Guard, launched in 1992 in the Czech Republic. In 1997, the first AVG licenses were sold in Germany and the UK. AVG was introduced in the US in 1998.

The AVG Free Edition helped raise awareness of the AVG product line. In 2006, the AVG security package grew to include anti-spyware as AVG Technologies acquired ewido Networks, an anti-spyware group. AVG Technologies acquired Exploit Prevention Labs (XPL) in December 2007 and incorporated that company's LinkScanner safe search and surf technology into the AVG 8.0 security product range released in March 2008. In January 2009, AVG Technologies acquired Sana Security, a developer of identity theft prevention software. This software was incorporated into the AVG security product range in March 2009.

According to AVG Technologies, the company has more than 200 million active users worldwide, including more than 100 million who use their products and services on mobile devices.

On 7 July 2016, Avast announced an agreement to acquire AVG for $1.3 billion.

Platform support
AVG provides AVG AntiVirus Free for Windows, AVG AntiVirus for Mac for macOS and AVG AntiVirus for Android for Android devices. All are freemium products: They are free to download, install, update and use, but for technical support a premium plan must be purchased.

AVG stopped providing new features for Windows XP and Windows Vista in January 2019. New versions require Windows 7 or later; virus definitions are still provided for previous versions.

Features
AVG features most of the common functions available in modern antivirus and Internet security programs, including periodic scans, scans of sent and received emails (including adding footers to the emails indicating this), the ability to repair some virus-infected files, and a quarantine area (virus vault) in which infected files are held.

LinkScanner
The patent pending LinkScanner technology acquired from Exploit Prevention Labs and built into most AVG products, provides real-time updated protection against exploits and drive-by downloads. LinkScanner includes: Search-Shield – a safe search component that places safety ratings next to each link in Google, Yahoo! and MSN search results; plus Active Surf-Shield – a safe surf component that scans the contents of a web site in real-time to ensure it's safe being opened. Concerns regarding web analytics have made LinkScanner a controversial component (see "LinkScanner concerns" below).

LinkScanner concerns
When AVG 8.0 was first released, its LinkScanner safe search feature was shown to cause an increase in traffic on websites that appear high in search engine results pages. Since LinkScanner disguises the scans as coming from an Internet Explorer 6 browser when it prescans each site listed in the search results, website usage logs showed incorrect and overinflated site visitor statistics. The prescanning of every link in search results also caused websites to transfer more data than usual, resulting in higher bandwidth usage for web site operators and slow performance for users. AVG initially said that site administrators would be able to filter the LinkScanner traffic out of their site statistics, leaving the problem of excess bandwidth usage still to be solved. Pay-per-click advertising was not affected by the increase in traffic.

AVG Online Shield
AVG Online Shield is a feature designed to check files and ensure that they are safe. AVG Online Shield also ensures the safety of exchanging files via instant messengers and VoIP clients.

In response to complaints, AVG announced that as of 9 July 2008 "Search-Shield will no longer scan each search result online for new exploits, which was causing the spikes that webmasters addressed with us", releasing a new build on that date that applies a local blacklist, then prefetches and scans only those links clicked on by the user.

Controversy
As of 2014, there are numerous reports dating back to 2012 that the AVG SafeGuard Toolbar installs itself without the consent of the user, as a side effect of installing other applications. The toolbar program appears to cause significant RAM issues and can be considered an intrusive potentially unwanted program (PUP). Once installed, the AVG toolbar is virtually impossible to remove. The toolbar uninstaller does not function, instead re-installing the add-on if manually removed. Consequently, many discussions and blog posts have described complex procedures for removal of the AVG toolbar, each with very mixed results.

In September 2015, AVG announced that it would start tracking users for profit, analyzing their data for sale to the advertising industry. This measure received criticism from consumers, the press and security industry, as many users intended to use the software in order to protect themselves from spyware and would not expect the functions of spyware to be "hidden" in security software.

In December 2015, the AVG Web TuneUp Google Chrome extension (automatically installed with AVG AntiVirus) was revealed to contain multiple critical security vulnerabilities. Most notably, Chrome users' browsing history could be exposed to any website, cookies from any site the user has visited could be read by an attacker, and trivial cross-site scripting (XSS) issues could allow any website to execute arbitrary code (as another domain).

The XSS vulnerability allowed a user's mail from "mail.google.com" to be read by any website, or financial information to be read from the user's online banking site. The AVG team fixed this by only allowing "mysearch.avg.com" and "webtuneup.avg.com" to execute these scripts. Despite this remediation, attackers could leverage any of these attacks if an XSS vulnerability was found on the AVG sites. As of April 2016, Web TuneUp was still not available for download from the AVG website.

Reception
AVG Antivirus Free 2012 was selected as PC Magazine Editors' Choice in the free antivirus category. AVG AntiVirus Free 2015 received the Editor Choice badge of SoftChamp.

title: AVG AntiVirus


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History of Russian animation

The history of Russian animation is the visual art form produced by Russian animation makers. As most of Russia's production of animation for cinema and television were created during Soviet times, it may also be referred to some extent as the history of Soviet animation. It remains a nearly unexplored field in film theory and history outside Russia.

Beginnings
The first Russian animator was Alexander Shiryaev, a principal ballet dancer and choreographer at the Mariinsky Theatre who made a number of pioneering stop motion and traditionally animated films between 1906 and 1909. He built an improvised studio at his apartment where he carefully recreated various ballets — first by making thousands of sketches and then by staging them using hand-made puppets; he shot them using the 17.5 mm Biokam camera, frame by frame. Shiryaev didn't hold much interest in animation as an art form, but rather saw it as an instrument in studying human plastics. They were mostly forgotten during the Soviet period, mentioned only in the memoirs of his students. In 1995, they were re-discovered by a ballet historian Viktor Bocharov who got hold of Shiryayev's archives and released A Belated Premiere documentary in 2003 with fragments of various films. All of them were later restored and digitized with the help from the Pordenone Silent Film Festival and Aardman Animations.

The second person to independently discover animation was Vladislav Starevich. Being a trained biologist, he started to make animation with embalmed insects for educational purposes, but soon realized the possibilities of this medium to become one of the undisputed masters of stop motion later in his life. His first few films, made in 1910, were dark comedies on the family lives of cockroaches, and were so revolutionary that they earned him a decoration from Nicholas II of Russia. He produced a number of other popular animated films with insects at the Aleksandr Khanzhonkov's studio where he also worked as a cinematographer and a director of live-action films, sometimes combining live action with stop motion animation, as in The Night Before Christmas and A Terrible Vengeance (both from 1913). Starevich left Russia after the October Revolution, and for many years, the animation industry was paralyzed.

After the revolution
In the early years after the October Revolution, Russian animation remained undeveloped compared to cinema or theatre. The 1923 agitprop animated short Today directed by Dziga Vertov and animated by Ivan Belyaev became a pioneering work and was followed by other cutout films (called flat marionettes at the time) in style of editorial cartoons that satirized bourgeoisie, Church and Western countries, drawn and animated in a sketchy manner; those included films and sketches by Vetrov and Aleksandr Bushkin for Sovkino such as Soviet Toys, Humoresques and episodes of Kino-Pravda.

In 1924, Mezhrabpom-Rus released the critically acclaimed Interplanetary Revolution that satirized Aelita. It also utilized cutout animation along with the constructivism art style and was developed independently by three artists — Nikolai Khodataev, Zenon Komissarenko and Yuri Merkulov — who headed the first Soviet animation studio at the All-Union Technicum of Cinematography. In 1925, it was followed by a government-backed China in Flames made by the same team along with Ivan Ivanov-Vano, Vladimir Suteev and the Brumberg sisters. With 1000 meters of film and 14 frames per second it ran over 50 minutes at the time, which made it the first Soviet animated feature film and one of the first in the world.

During the late 1920s, the industry started moving away from agitation. In 1927, Merkulov, Ivanov-Vano and Daniil Cherkes directed the first Soviet cartoon aimed at children — Senka the African based on the fairy tale in verse by Korney Chukovsky. Made at Mezhrabpom-Rus, it combined traditional animation and some live action scenes. Same year Ivanov-Vano and Cherkes worked on The Skating Rink (1927 film), another hand-drawn short that featured a distinguishable art style (white lines against black background). It was written and directed by Yuri Zhelyabuzhsky and Nikolai Bartram, founder of the Moscow Toy Museum, who also produced Bolvashka's Adventures that combined live action and stop motion animation in a story about a Pinocchio-like wooden boy. The idea was extended in a spiritual successor — Bratishkin's Adventures, the first Soviet animated series created between 1928 and 1931 by Yuri Merkulov and Aleksandr Ptushko at Mosfilm.

In 1928, Nikolai Khodataev, his sister Olga Khodataeva and the Brumberg sisters produced a hand-drawn animated short The Samoyed Boy stylized as traditional Nenets art that followed a dramatic narrative and used an innovative technique of printing on thin celluloid. A 24-minute stop motion film The Adventures of the Little Chinese was directed same year by Maria Benderskaya and could be considered a return to the traditions of Ladislas Starevich.

Mikhail Tsekhanovsky's Post (1929, cutout/cel animation) was both a return to constructivism traditions and a big step forward: it was successfully exported and widely shown around the world, while in the USSR it changed the perception of animation as an art form. It also became the first colorized Soviet animated film and one of the first to get a musical score and a voiceover by Daniil Kharms. Mikhail and his wife Vera Tsekhanovskaya led an animation studio at Lenfilm where a number of distinctive hand-drawn and stop motion films were created throughout the 1930s, including the much-praised Dzhyabzha (1938) by Mstislav Pashchenko. The team actively applied color using the original dye-transfer process invented by Lenfilm specialists, similar to Technicolor.

In 1933, the couple collaborated with Dmitri Shostakovich and Alexander Vvedensky on the first traditionally animated Soviet feature — The Tale of the Priest and of His Workman Balda, a satirical opera loosely based on the fairy tale in verse by Alexander Pushkin and stylized as ROSTA posters. Despite many problems, including the infamous bullying of Shostakovich in press, the film was nearly finished and had been stored at Lenfilm until 1941 when almost all of it was destroyed in fire caused by the bombings of Leningrad. Tsekhanovsky is also credited with invention of graphical sound along with Arseny Avraamov and Evgeny Sholpo. They were challenged by a group led by Aleksandr Vasilievich Ivanov who made a number of animated shorts based on their own idea of "drawing paper sound".

In 1935, Aleksandr Ptushko directed The New Gulliver, one of the world's first full-length animated movies that combined detailed stop motion with a live actor (a 15-year-old boy). The film featured from 1,500 to 3,000 different puppets with detachable heads and various facial expressions, as well as camera and technical tricks.

The international success of the movie allowed Ptushko to open his own "division of 3D animation" at Mosfilm which also worked as a school for beginning animators. In four years, they created a dozen of stop motion shorts; most of them, such as A Fox and a Wolf (1936 film) (1936), were based around Russian folklore, traditional art (with the involvement of artists from Palekh) and could be watched in full color thanks to the newly invented three-color film process by Pavel Mershin. In 1939, Ptushko directed another feature — The Golden Key based on the popular Soviet fairy tale; it also combined stop motion with live action, but to a lesser extent.

Simultaneously, Alexandre Alexeieff who fled for France during the Russian Civil War developed a pinscreen animation technology along with his wife, Claire Parker that allowed for a wide spectre of special effects achieved through the use of hundreds of thousands of pins that formed different patterns. Despite the status of white émigré in the USSR his films were well known among Russian professionals and inspired various artists, most famously Yuri Norstein. In the mid-1990s Alexeieff's daughter visited Moscow and presented her father's works to the State Central Museum of Cinema. Today he is commemorated as a patriarch of Russian animation.

Soyuzmultfilm, 1936–1960
In September 1933, the Principal Management of the Photo-Cinematographic Industry (GUKF) ordered to provide animators with facilities and equipment; meanwhile, specialized script-writers were hired for Animated feature films. Viktor Fyodorovich Smirnov who headed the Amkino Corporation, a New York-based company responsible for distribution of Soviet movies in North America, was given the task to study the animation processes at Disney and Fleischer Studios. Next year Smirnov returned to Moscow and founded an Experimental Animation Workshop under the Main Directorate of the Photo-Cinematographic Industry where he, Alexei Radakov, Vladimir Suteev and Pyotr Nosov started "developing the Disney style". In 1935, Walt Disney himself sent a film reel with Three Little Pigs and Mickey Mouse shorts to the Moscow International Film Festival that made a lasting impression on Soviet animators and officials.

On June 10, 1936, the Soyuzdetmultfilm Studio was created in Moscow from the small and relatively independent trickfilm units of Mosfilm, Sovkino, Mezhrabpomfilm and Smirnov's studio. In a year it was renamed to Soyuzmultfilm. Three-months retraining courses were organized by the studio administration where animators studied everything, from drawing and directing movies to the basics of music and acting. For four years some of the leading animators focused on the creation of Disney-style shorts, exclusively using the cel technique. From 1937, on they also produced films in full color using the three-color film process by Pavel Mershin.

In 1938, the team also mastered rotoscoping, or Eclair as it has been known in Russia since the 1920s (after the Eclair video projector). Not everyone was happy with the chosen direction though, and by 1939 many developed their own styles. Ivan Ivanov-Vano directed Moydodyr (1939 film) based on the fairy tale in verse which he personally praised as an important step from Disney. Suteev and Lamis Bredis presented a distinctive Uncle Styopa adaptation, while Leonid Amalrik and Vladimir Polkovnikov converted Doctor Aybolit stories into a distinctive mini-series that ran from 1939 to 1946 and defined the "Soviet style" of animation. At the same time Aleksandr Ivanov and Dmitry Babichenko made a radical shift towards agitprop and socialist realism with films such as Grandfather Ivan and War Chronicles.

Soon after Lev Kuleshov, then a professor at VGIK, suggested Ivanov-Vano to open and head a workshop under the Art Faculty which became the first official Russian workshop where students studied the art of animation. Among Ivanov's first students were Lev Milchin, Yevgeniy Migunov and Anatoly Sazonov.

With the start of the Great Patriotic War the studio was evacuated to Samarkand along with some key animators who continued teaching students and producing films, including anti-fascist propaganda. In 1943, they returned to Moscow and released several kids movies such as The Tale of Tsar Saltan (1943) by the Brumberg sisters and The Winter's Tale (1947 film) (1945) by Ivanov-Vano — the last film to use the Soviet three-color filming process before the switch to Agfacolor. By that time Ptushko's studio at Mosfilm had been shut down and Tsekhanovsky's studio at Lenfilm — destroyed by a bomb, which basically turned Soyuzmultfilm into Russia's animation monopolist.

Yet even after the war, its resources were very limited. 19 animators from the relatively small Soyuzmultfilm team were killed in action. A whole generation of Leningrad animators either disappeared at fronts or died during the Siege of Leningrad. Others returned as war-disabled, like Boris Dyozhkin and Aleksandr Vinokurov (both lost their left eyes), Boris Butakov who got a bullet stuck in his head and Vladimir Degtyaryov who lost his right arm and learned to work as left-handed. One of the leading directors, Vladimir Suteev, left the industry on his return for personal reasons.

The rest worked intensively to prepare new animators; between 1945 and 1948, four groups of students graduated from VGIK. They also continued releasing short and feature films that brought them international recognition, such as The Lost Letter (1945) and The Humpbacked Horse (1947) that was used by Walt Disney as a teaching tool for his artists. In 1948, The Champion (1948 film) short comedy film was accused of "formalism" and "anthropomorphism" following the Cold War anti-Disney campaign. As the art director Yevgeniy Migunov remembered, he floutingly drew backgrounds for his next movie as realistic as possible, and suddenly it became "a golden standard" for the next ten years. Ironically, he would become one of the leading innovators later on.

From 1950 to 1960, the vast majority of animated films were fairy tale adaptations influenced by the works of Viktor Vasnetsov, Ivan Bilibin, Mikhail Vrubel, Palekh and Fedoskino miniatures and other national styles. The Disney's conveyor method of production with a clear work split was implemented along with a full analog of a multiplane camera. Eclair (rotoscoping) also rose to popularity. According to the 1951 report by Ivan Ivanov-Vano, it was a temporary measure that served as a teaching tool for beginning animators. Many leading actors were involved, such as Mikhail Astangov who appeared as the beast in The Scarlet Flower (1952).

Some directors made extensive use of this method, while others mixed it with traditional animation as in The Snow Queen (1957) by Lev Atamanov, arguably the most famous work of that time. Many focused on animal art with little to no use of rotoscoping. All this allowed for a yearly release of prominent feature films with high production values such as The Night Before Christmas (1951), The Snow Maiden (1952), The Enchanted Boy and The Frog Princess (1954), The Twelve Months (1956) and The Adventures of Buratino (1959).

The Khrushchev Thaw
First changes happened in 1953 when a puppet division was reopened at Soyuzmultfilm. In 1954, Yevgeniy Migunov along with an engineer Semyon Etlis produced the first Soviet stop motion film since Aleksandr Ptushko: Karandash and Klyaksa — Merry Hunters about the adventures of the Russian clown Karandash and his dog. According to Migunov, they had to reinvent the whole production process. They organized a technical base, constructed and patented a device for shooting in statics, with a horizontally moving camera and attachable dolls. Also for the first time they used ball-jointed dolls and latex to make puppet faces.

They were followed by Vladimir Degtyaryov who produced many films such as Beloved Beauty (1958) and Who Said Meow? (1962), Roman Kachanov and Anatoly Karanovich who directed the award-winning The Cloud in Love (1959) that combined stop motion, traditional and cutout animation, Vadim Kurchevsky and Nikolay Serebryakov whose style was marked by extensive aesthetic search for "combination of realism and the baroque". Sergey Obraztsov and his team also produced a number of movies using hand puppets.

In 1957, Migunov directed Familiar Pictures based on the sketches by a stand-up comedian Arkady Raikin who also appeared in the short. What made it special was a radical style of magazine caricatures, since Raikin's satire didn't fit the "realistic" art direction. It was not long until other animators started abandoning it. In 1958, Alexandra Snezhko-Blotskaya released an adaptation of Arkady Gaidar's A Tale of Malchish-Kibalchish inspired by ROSTA posters, while Boris Stepantsev and Evgeny Raykovsky directed a postmodern Petya and the Little Red Riding Hood that leant towards Tex Avery.

In 1960–1962, a whole line of "formalistic" features hit the screens, such as It Was I Who Drew the Little Man by the Brumberg sisters, The Key by Lev Atamanov, Cipollino by Boris Dyozhkin and The Wild Swans by Mikhail and Vera Tsekhanovsky — the first Soviet widescreen feature that introduced Gothic art style. Ivanov-Vano also broke new grounds with The Flying Proletary (1962), the first widescreen stop motion short based on the poems and art of Vladimir Mayakovsky that made use of bas-relief paper dolls. Same year Fyodor Khitruk made a directoral debut with a primitivistic cutout short The Story of a Crime that told a contemporary story and gained international praise.

Soyuzmultfilm, 1964–1991
In the following years, many animators turned away from the conveyor method of production and developed their own distinctive styles and approaches. The number of titles rose through the mid-1960 into the 1970s and 1980s, up to fifty per year. Mini-series and anthologies became common, while the amount of feature films decreased dramatically. Director Boris Stepantsev was known for experimenting a lot. Among his films was another postmodern comedy Vovka in the Far Far Away Kingdom (1965), the paint-on-glass animation Song of a Falcon (1967), the highly popular Karlsson-on-the-Roof dilogy (1968–1970) that made use of xerography and The Nutcracker adaptation (1973) that presented a familiar story without a single spoken word.

Some patriarchs also joined the new wave. Ivanov-Vano was appointed an artistic director of the puppet division where he made a number of stop motion/cutout films inspired by Russian folk art, like Lefty (1964) that addressed lubok, Go There, Don't Know Where (1966) that used elements of rayok and skomorokh theatre, The Seasons (1969) based around Tchaikovsky's two character pieces, presented as a combination of Dymkovo toys and lace, and the award-winning The Battle of Kerzhenets (1971) where frescos and icons came to life.

Another well-respected old-timer Boris Dyozhkin launched a popular series of short comedy films about two teams that competed in various sport disciplines such as football, hockey, skiing, boxing and so on. It ran from 1963 to 1981 and was notable for fast-paced slapstick synchronized with music.

Among the most political animators were Fyodor Khitruk whose satire The Man in the Frame (1966) was cut by censors and Andrei Khrzhanovsky whose surrealist film The Glass Harmonica (1968) was shelved for many years. On the other hand, Khitruk's Boniface's Holidays (1965), Film, Film, Film (1968) and the Winnie-the-Pooh trilogy in particular became an instant success among both kids and adults.

Roman Kachanov made numerous films for children. He started with puppet animation such as A Little Frog Is looking for His Father, The Mitten and, most famously, the Cheburashka series that turned Cheburashka into one of the iconic characters of Soyuzmultfilm. In his late years he switched to traditional animation with the feature science fiction film The Mystery of the Third Planet (1981).

Adventures of Mowgli mini-series by Roman Davydov was released from 1967 to 1971. Just like Winnie-the-Pooh, it was not conceived as a reaction to the Disney's The Jungle Book (even the first episode was developed simultaneously) and followed the original plot closely, appearing more adult and spiritually closer to the book. In 1973, the shorts were combined into a 96-minute feature.

The rising popularity of the industry started drawing people from other areas. Vasily Livanov, originally an actor, finished animation courses and directed several experimental pictures. Yet his biggest success was The Bremen Town Musicians (1969), an animated musical film heavily influenced by rock and roll and hippie cultures. The first part was directed by Inessa Kovalevskaya who also abandoned her position at Goskino to work on animated musicals. After she left the project, Livanov directed the sequel by himself. The three main characters were voiced by the leading Soviet pop singer Muslim Magomayev.

1969 saw the birth of Russia's most popular animation series Well, Just You Wait! directed by Vyacheslav Kotyonochkin. These seemingly simple miniatures about a wolf chasing a hare through Soviet-style cartoon worlds owe a great deal of their popularity to the quality animation, varied soundtrack and cunning subtexts built into their parts. The original series ran from 1969 to 1993. During the mid-2000s, an unsuccessful attempt to reboot the series was made.

Also, in 1969, a long-running animated anthology series Happy Merry-Go-Round was founded by Anatoly Petrov and Galina Barinova. Each episode combined several short experimental films by the beginning directors like Leonid Nosyrev, Valery Ugarov, Eduard Nazarov, Gennady Sokolsky, Garri Bardin and Aleksandr Davydov (animator).

Most of them gained acclaim later on, working in their own unique niches. Anatoly Petrov showed extreme realism (close to photorealism) without rotoscopy, photography or any "cheating". His style was known as "photographics", or "graphical painting"; for many years he developed the so-called effect of moving glaze in a 3D environment using traditional animation materials. The final result was close to advanced CGI long before it was invented. Among his best works was Polygon (1977) and several films based on Greek mythology.

Gennady Sokolsky focused on environmental films with attractive characters and ambient soundtracks: Silver Hoof (film) (1977), Little Mouse Pik (1978) and The Adventures of Lolo the Penguin (1986), a joined Soviet-Japanese feature co-directed with Kenji Yoshida. Leonid Nosyrev explored the Russian North folklore with a number of ethnographical films based on the stories by Boris Shergin, Stepan Pisakhov and Yuri Koval. In 1987, seven of them were combined into a Laughter and Grief by the White Sea feature film.

One of the most famous Russian animators is Yuri Norstein. His films Hedgehog in the Fog (1975) and Tale of Tales (1979) won numerous awards at international festivals. Tale of Tales was named the best animation film of all time at the 1984 Olympic Arts Festival in Los Angeles and at the 2002 Animafest Zagreb. Since the beginning of perestroika Norstein has been working on The Overcoat.

Vladimir Popov had been known since the 1960s for his shorts such as Umka, but it was the Three from Prostokvashino trilogy (1978–1984) that brought him fame. The characters and their catchphrases entered Russian folklore, and it was chosen the third best animation of all time in the 2014 poll conducted by the Public Opinion Foundation. In 2018 the series was rebooted.

Vladimir Tarasov was a rare Soviet director who dedicated himself to the science fiction genre. Among his prominent works were Contact (1978) influenced by Yellow Submarine, Shooting Range (1979), Contract (1985) and The Pass (1988).

Stanislav Sokolov brought stop motion to a new height. His approach characterized by complex animation structures and multiple special effects could be observed in the award-winning Black and White Film (1984) or The Big Underground Ball (1987). During late years, few animated films were produced due to the lack of financing from government. Garri Bardin who also specialized on stop motion films made of matches, ropes and wire, was one of those few directors who managed to cope with the political changes. His Grey Wolf & Little Red Riding Hood (1991) was full of allusions to the upcoming end of the USSR.

Other Soviet studios
Kievnauchfilm was founded in 1941. Although it was created to produce popular science films, it eventually became best known for its animated films, and remained active in Ukrainian animation for decades.

In 1968, a group of mathematicians led by Nikolay Konstantinov released a 1.5-minute non-narrative animation Kitty (1968), one of the earliest examples of computer and procedural animation in history programmed on BESM-4. Cat's movements and mimics were modelled using the second-order differential equation system. It was also one of the first attempts to render realistic animal motion digitally. Programmed at the Moscow State Pedagogical University, Kitty was made into a movie and screened at the Moscow State University. It was later shown to students at mathematics competitions and used for educational purposes at schools.

From 1970 on, new studios appeared across the RSFSR, most famously Multtelefilm division of Studio Ekran (Moscow) that focused on lower-budget television animation. It was known for several popular TV series such as Leopold the Cat (1975–1987), Kuzya the Little Domovoi (1984–1987), Investigation Held by Kolobki (1986–1987) and Adventures of Funtik the Piglet (1986–1988), as well as various experiments. Vladimir Samsonov (animator) re-discovered paint-on-glass animation with films like Wonders (1980), The Huge Sky (1982) and The Firebird (1984 film) (1984), while Alexander Tatarsky pioneered clay animation with Plasticine Crow (1981), Last Year's Snow Was Falling (1983) and the Good Night, Little Ones! opening (computerized in 2002 as the very first CGI Animation in Russia, made for state television). He and his students also practiced total animation (flying camera with characters and backgrounds moving simultaneously).

Multtelefilm served as a base for Pilot, the first private Soviet animation studio founded by Alexander Tatarsky and Igor Kovalyov in 1988. They aimed at both auteur and commercial animation, producing absurd adult-themed films. In several years half of the team left Russia to work for Klasky Csupo where they created popular animated series such as Rugrats and Aaahh!!! Real Monsters.

The Sverdlovsk Film Studio also gained fame for its paint-on-glass animation with complete new level of quality by Aleksei Karaev and Aleksandr Petrov (Welcome!, The Cow), as well as sand animation by Vladimir and Elena Petkevich (A Small Tale of a Small Bug). The rest included the animation department at Lennauchfilm that produced educational and popular science films, the Permtelefilm studio (Perm) responsible for TV animation mostly based on the Ural folklore, Kuybyshevtelefilm (Kuybyshev) known for its stop motion Forest Tales series, Saratovtelefilm (Saratov) and some others.

In 1989, another independent studios Christmas Films was founded by Soyuzmultfilm veterans that focused on international coproduction. It became famous during later years with the Russian-British Shakespeare: The Animated Tales series (1992–1994) that earned several Primetime Emmy Awards.

Russian animation today
After the dissolution of the Soviet Union the situation for Russian animators changed dramatically. Due to the new management and the lack of state funding, many of them left Soyuzmultfilm, which was turned into a leased enterprise. In 1993, Yuri Norstein, Fyodor Khitruk, Andrei Khrzhanovsky and Eduard Nazarov founded the SHAR Studio meant for training animators and producing films. Garri Bardin also founded the Stayer animation studio where he continued directing claymation and stop motion films. Others joined Pilot, Christmas Films, Animation Magic and similar companies that lived on advertisement and commissioned works for big studios from Western countries.

In 1992, Films by Jove, an American company ran by Oleg Vidov and his wife Joan Borsten, signed a nine-year contract with the new Soyuzmultfilm director Stanislav Rozhkov that gave them exclusive distribution and editing rights for the major part of the studio's collection. They were supposed to share incomes, but only after their expenses would've been paid off. As a result, animators received nothing for their past works. In 1993, they elected a new director, a shady businessman Sergei Skulyabin who promised to turn the studio into a joint-stock company. Instead he signed a new contract with Vidov, extending it from nine to twenty years and returning a number of non-profitable films. His plan was to sell exclusive rights for all past and future films to his dummy corporation and bankrupt the studio.

When animators realized it, they managed to overthrow him with the help from the Union of Cinematographers and Goskino, although the Ministry of State Property still refused to step in and return the studio the state status. Skulyabin also refused to leave the director's chair up until 30 June 1999 when Sergei Stepashin finally signed a long-awaited order that turned Soyuzmultfilm into a unitary enterprise. By that time the production completely stopped. In 2001 the High Court of Arbitration of Russia returned the rights to the whole collection back to Soyuzmultfilm which led to a legal battle with Films by Jove. Only in 2007 Vidov and Borsten agreed to sell the collection to the Russian business magnate Alisher Usmanov who donated it to the state-run children's channel Bibigon. Around the same time the studio came back to life.

Nevertheless, there were a few very successful international co-productions, e.g. the aforementioned Shakespeare: The Animated Tales and Aleksandr Petrov's Oscar-winning The Old Man and the Sea (1999). An ambitious project in 12 series Dunno on the Moon was released between 1997 and 1999. Based on the Soviet sci-fi novel of the same name, it was produced at Aleksei Guskov's F.A.F. Entertainment in the best traditions of Soviet hand-made animation. Despite the hardships, Natalya Lukinykh has estimated that Russian animated films won about twice as many prestigious international awards in the 1990s as Russian live-action films.

As Russia's economic situation became increasingly stable, so did the market for animation, and during the last three years, a number of feature-length animation films from Russian studios have emerged (e.g. Melnitsa Animation Studio's Little Longnose, 2003, from Wilhelm Hauff's fairy tale, and Solnechny Dom Studio's 2006 Prince Vladimir, based on early history of Rus' – the highest-grossing Russian animated film to date). While the Russian animation community is yet far from reaching the splendor it possessed before the end of the Soviet Union, a significant recovery is being made and it is becoming more and more clear that the revived Russian animation industry will be very different from what it was in the late 1980s. According to Andrei Dobrunov, head of Solnechny Dom, several Russian studios are currently working on some ten animated feature films.

Especial released on July 31, 2006 was Russia's first CG-animated feature film. At the same time, Soyuzmultfilm has partnered up with Mihail Chemiakin and is working on Hoffmaniada, a puppet-animated feature film which is deliberately being made entirely without computers. In 2007, the Morevna Project was launched, aiming at creating a science fiction re-telling the folk-tale of Marya Morevna as an anime primarily by using the free software Synfig tool and releasing it under a Creative Commons license. Other popular Russian Internet cartoons include Masyanya and Mr. Freeman. A corporate collaboration between the Japanese Studio 4°C and Russia's Molot Entertainment did also produce the anime film First Squad (2009), which won the Kommersant newspaper's prize. The film was finally released in 2018.

Beginning in 2009, animation entered a new crisis as Goskino indefinitely postponed funding for all projects, and for the 2010 budget the state cut animation funding by half. The animation community reacted by appealing to the President and the public. In 2010, many of the major studios, including Pilot, were either closed or on the verge of shutting down. The vast majority of studios had relied on state support to some extent, and Goskino did not fulfill any of their contractual obligations to pay for the films that they had ordered and which the studios had already produced. In addition, Disney has been accused of using anti-competitive practices to sideline domestic Russian competition on TV channels.

The Center of National Film CG animated film Space Dogs, released on March 18, 2010 and about the Soviet space dogs Strelka and Belka, received an English release on June 8, 2012 and spawned a broader franchise. Wizart Animation, alongside InlayFilm, also produced a new CG film version of The Snow Queen (2012), spawning a new franchise with sequels The Snow Queen 2 (2014) and The Snow Queen 3: Fire and Ice (2016), alongside their first fully original concept Sheep and Wolves (2016).

Animaccord Animation Studio has had success in CG television animation with its children's series Masha and the Bear (2009–present), whose emphasis on pantomime has helped it export outside of the country, premièring on the US version of Netflix in August 2015. Another long running, educational, children's series by Melnitsa Animation Studio called Luntik has aired since September 1, 2006. An earlier success in this market was Kikoriki which aired from May 7, 2004 until 2012, produced by Petersburg Animation Studio with assistance from the Ministry of Culture of the Russian Federation. English-language distribution rights to the series were acquired by 4Kids Entertainment from worldwide distributor Fun Game Media, Munich and began airing as part of The CW4Kids block on The CW on September 13, 2008, under the name GoGoRiki. In 2011 a prequel feature film was released entitled Kikoriki. Team Invincible and further films are planned. A connecting factor in many recent Russian animated efforts is Timur Bekmambetov, whose Bazelevs Company has helped produce, finance and promote Kikoriki and The Snow Queen.

In 2010, the animated series The Fixies premiered on Karusel and Russia 1.

In 2018, Soyuzmultfilm, announced plans to restore films from its Golden Collection. On 5 December 2020, the second part of the Golden Collection was restored and released theatrically by United Network "Cinema Park" in Russia. The release was followed up online premiere service viewing options.

Popular animation studios

 * Soyuzmultfilm
 * Melnitsa Animation Studio
 * Petersburg Animation Studio
 * Animaccord Animation Studio
 * Wizart Animation
 * InlayFilm

News articles

 * The St. Petersburg Times (Russia) – a May 2006 article about the film Prince Vladimir and the future of the animation industry in Russia
 * Redrawing Russian History (May 18, 2006)
 * In-depth history of the appalling and criminal happenings at Soyuzmultfilm during the 1990s
 * An overview of Russian animated feature films in the 1990s and early 2000s
 * Russian animation in search of a hero Maria Tereschenko, Russia Beyond the Headlines, December 17, 2009 (English)

title: History of Russian animation


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Barrow (crater)

Barrow is an old lunar impact crater that is located near the northern limb of the Moon. It lies between the crater Goldschmidt to the northwest and the irregular formation Meton to the northeast. To the southwest is W. Bond.

The outer wall of Barrow has been heavily eroded by subsequent impacts, and reshaped by intruding craters. As a result, the rim now resembles a ring of rounded hills and peaks surrounding the flat interior. The younger satellite crater Barrow A lies across the southwest rim. At the eastern end of the crater is a narrow gap in the rim that joins the floor to the adjacent crater Meton. The rim achieves its maximum height and extend in the northwest, where it is joined to Goldschmidt.

The interior of Barrow has been resurfaced by lava flows, leaving a flat surface that is marked by many tiny craterlets. Faint traces of ray material from Anaxagoras to the west forms streaks across the floor of Barrow.

Satellite craters
By convention these features are identified on lunar maps by placing the letter on the side of the crater midpoint that is closest to Barrow.

title: Barrow (crater)


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title: File:Anti-systemic flag geog.jpg


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Shall We Tell the President?

Shall We Tell the President? is a 1977 novel by English author Jeffrey Archer. A revised edition was published in 1986.

In the first edition, a plot to kill the President of the United States, Edward Kennedy, is foiled by Federal Bureau of Investigation agent Mark Andrews working with the head of the FBI. A love story complicates the plot. The book includes descriptive details of official Washington, for which the author lists sources.

The U.S. edition of the novel was published by Viking Press, where Kennedy's sister-in-law Jacqueline Onassis was then a consulting editor. Although Onassis was not involved in editing Shall We Tell the President?, she was criticized for not trying to deter her employer from publishing a novel about an assassination plot against a member of the Kennedy family. She resigned from Viking Press shortly after the publication.

After the success of Kane and Abel and The Prodigal Daughter, Archer published a revised edition of Shall We Tell the President?, replacing Kennedy (in real life a senator and a presidential candidate but never president) with the fictional character Florentyna Kane (who became president in The Prodigal Daughter) in order to link it with the other two novels. He also replaced Vice President Dale Bumpers (in real life governor and a senator) with the real-life Senator Bill Bradley of New Jersey. The author makes frequent references to William Shakespeare's play Julius Caesar.

Plot
A Greek man, Angelo Casefikis, enters a hospital with a gunshot wound to his leg demanding to speak to the FBI. Nick Stames, the head of the Washington field office, tasks agents Mark Andrews and Barry Calvert to take his testimony and they learn of a plot against the life of President Florentyna Kane with the involvement of an unnamed US Senator. Stames and Calvert are soon murdered, as is Casefikis in the hospital, leaving only Andrews alive with knowledge of the plot.

Andrews reports what he knows to the FBI Director Horatio Tyson, and becomes his direct report for the 7 days until the planned assassination. Investigating a number of US Senators who could potentially have been at the lunch where Casefikis overheard the conspiracy, Andrews begins to narrow down the suspects. Alongside his investigation, he begins a romantic relationship with Elizabeth Dexter, the daughter of potential conspirator Senator Henry Dexter. As Andrews gets closer to discovering the truth, he comes to the attention of the five conspirators, who decide to murder him with a car bomb on the day of the planned assassination. Having narrowed down the suspect US Senator to two persons - Robert Harrison and Henry Dexter - Andrews escapes the attempt on his life by a coincidence when Elizabeth visits his apartment and offers him a ride. When a moment of recall reveals to Andrews that Elizabeth had lunched with her father on the day Casefikis was shot, he realises the only possible conspirator is Harrison. The plot is foiled and three of the five conspirators are captured, but not before one of them shoots Harrison with a sniper rifle.

Andrews is injured in an attempt to shield Harrison from gunfire, but survives while Harrison perishes. President Kane personally congratulates him for his act of bravery, knowing nothing of the plot or of Harrison's involvement. Andrews rebuilds his intermittently frosty relationship with Elizabeth and accepts Tyson's offer of a new job.

Suspected senators
In the novel, some United States Senators, both real-life and fictional Democrats and Republicans, are suspected as a part of the plot to kill the president, many of them just because they were present in D.C. at a certain time.

Fictional

 * Ralph Brooks (D-IL), political rival of President Kane from previous books in the series
 * Marvin Thornton (D-MA)
 * Robert Duncan (later renamed Harrison) (R-SC)
 * Henry Dexter (R-CT), father of Mark's girlfriend, Dr. Elizabeth Dexter

Real

 * Majority Leader Robert Byrd (D-WV)
 * Birch Bayh (D-IN)
 * Charles Mathias (R-MD)
 * Adlai Stevenson III (D-IL)
 * John Glenn (D-OH)
 * Daniel Patrick Moynihan (D-NY)
 * James Abourezk (D-SD)
 * Quentin N. Burdick (D-ND)
 * Sam Nunn (D-GA)

title: Shall We Tell the President?


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for systemic bias project

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Byrd (lunar crater)

Byrd is an irregular lunar impact crater that is located near the north pole of the Moon. The north rim of Byrd is nearly connected to the crater Peary, a formation that is adjacent to the pole. The smaller crater Gioja is attached to the remains of the southwest rim.

The rim of Byrd is worn and eroded, with sections distorted by intruding crater rims along the perimeter. As a result, the crater interior is longer in the north–south direction than it is wide. There is a gap in the western rim, and the southern rim is now little more than a low ridge on the surface.

Some time after the original impact the crater interior was covered in lava flows, leaving a nearly flat surface that is marked only by tiny craterlets. There is no central peak at the midpoint of the interior and no ridges of significance.

Satellite craters
By convention these features are identified on lunar maps by placing the letter on the side of the crater midpoint that is closest to Byrd.

title: Byrd (lunar crater)