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Talk:The Fugitive (1963 TV series)

Remakes?
I agree it would be interesting to briefly cover those series which have borrowed the "X pursued by the law for a crime he/she/they/it didn't commit" premise, but I'm wondering why "Hot Pursuit", a series so obscure I can't even find an episode guide for it, is more worthy of mention than, say, The Littlest Hobo? -- Antaeus Feldspar 16:18, 28 Sep 2004 (UTC)

Perhaps Feldspar is oppsed because he is confused about the merits of "Hot Pursuit'. 22:23, 28 Sep 2004 (UTC)

 * I took out the reference to The Littlest Hobo as it was not about a character being pursued by authorities (unlike the other examples). Plus, the Littlest Hobo actually originated as a Lassie variation in 1958, and the series itself started in 1963 (it was later remade in 1979), so it doesn't really fit into this category. 23skidoo 15:44, 25 Jun 2005 (UTC)

 * Hmmmm. We may be onto something interesting here, because I there was a show that had a helpful Lassiesque dog falsely accused of having attacked a human (his trainer, I think?) and wandering from place to place until his name was cleared.  I was fairly sure it was The Littlest Hobo; could it be that this was an element added in for the 1979 remake?  In which case it would be more relevant, not less.  -- Antaeus Feldspar 17:12, 25 Jun 2005 (UTC)

 * Found it. Not an incarnation of Littlest Hobo after all, but it exists. -- Antaeus Feldspar 17:19, 25 Jun 2005 (UTC)

Remakes, part deux
I think opening it from "chased by the law for a crime he/she did not commit" to "chased by the law for a crime, etc. or by sinister forces" opens it up to too wide a degree. The premise of a wrongfully-accused wanderer answers two questions, as detailed in the article. Widening the premise parameters by eliminating the "wrongfully-accused" angle reintroduces one of those questions: why don't they bring in the police? Some of those series answered those questions (The Invaders, for example) and other probably hoped it wouldn't occur to their audience. -- Antaeus Feldspar 02:31, 5 Nov 2004 (UTC)

I am not convinced. Please supply better proof. 216.153.214.94 03:48, 5 Nov 2004 (UTC)

 * Ho-hum, more tedious fleabites from 216.153.214.94071404. -- Antaeus Feldspar 04:31, 5 Nov 2004 (UTC)
 * There are shades of grey. The main premise for a fugitive-type show should have two elements involved; why doesn't the main character settle down, and why do they not go the police for help?  For example, the series Nowhere Man should be considered a fugitive-type show, as the main character had his life erased and he's looking for answers on the people who did that to him.  He doesn't trust the police as they may be a part of the conspiracy that erased his life (pilot).  Star Trek:  Voyager is also sort of like the show; they don't settle down because they are trying to go home, while attempting to help aliens they don't know along the way with the lack of, or despite, the authorities in that space sector.

"believes to be"

 * stop chaning this back to :

who escapes custody in a train wreck and begins a cross-country search for the one-armed man he believes to be the real killer

the one armed man IS the killer!!!!!!!!!!!!! when u say kimble believes he is the killer u make it sound like 'kimble belives that the one armed man is the killer,,,,,but he might not be"...that is like sayin on 8/15/05 i believe that george bush is presdient....yeh i can believe that but by sayin i believe it makes it sound like it s open to subjectivity...IT IS NOTTTTTT  HE ISSSS THE PRESDIENT.....DO NOT CHANGE THIS the one armed man IS The killer

stupid ass unsigned comment by

 * First of all, "stop chaning this back to" makes it sound like you kept changing it to your preferred version and someone else kept changing it back. A look at the history of the article shows that that's not the case; you changed it for the first and only time today, unless you previously edited The Fugitive, prior to April 2005.

 * Second of all, says "X believes Y" makes it sound like it is open to subjectivity or that it represents knowledge that is not certain. This is in fact the state that Richard Kimble is in right up until the end of the series:  he believes that the one-armed man he saw on the night of the crime was the real killer, but he does not know it.  Your analogy of saying that someone "believes" on 08/15/05 that George W. Bush is the President of the United States is a flawed analogy because almost anyone with a reason to care would, at this point, already know.  Kimble wants to know who killed his wife, and wants the world to know who killed his wife, and believes that that someone is the one-armed man, but it isn't until the end of the series that he knows.  (Correction:  I just looked it up in my reference works.  Fred Johnson, the one-armed man, confesses the murder to Kimble in episode 77, "Wife Killer" -- more than half-way through the 120-episode series.) -- Antaeus Feldspar 23:20, 16 August 2005 (UTC)

CORECTION MY ASS: ***EPISODE THIRTY FOUR "WHEN THE BOUGH BREAKS", CLEARLY SAYS THE ONE ARM MAN IS THE KILLER (FYI, EPISODE 34 IS ONLY 28% THUR THE SERIES NOT 50":

"THE MAN WITH ONE ARM, AUTHOR OF THE CRIME IN WHICH KIMBLE IS TO DIE, REMIANS ELUSIVE"

AND YES MY ANALOGY IS TOTALLY FINE...BECAUSE THE WAY U HAD IT : KIMBLE IS AFTER THE MAN HE BELIVES IS THE KILLER IS FLAWED....HE COULD BELIVE THAT HE IS THE KILLER...BUT THAT DOESNT MEAN HE IS....JUST BECAUSE U BLIEVE SUMTHING DOESNT MEAN ITS TRUE OR NOT ...PEOPLE BELIEVED THE WORLD WAS ROUND ..ITS NOT.... unsigned comment by

 * Excuse me, please. You clearly need to read Civility.  There is no need to respond to civil discourse with rudeness like "CORECTION MY ASS".

 * "When The Bough Breaks" does not change the crux of the matter. Yes, in that episode the narrator states that the one-armed man is the killer of Helen Kimble.  But Richard Kimble can't hear what the narrator says; he is still believing that the one-armed man is his wife's actual killer, without knowing that he is.  Until Johnson confesses, the only evidence he has against the one-armed man is the same kind of evidence that was used to falsely convict him, circumstantial evidence. -- Antaeus Feldspar 23:31, 17 August 2005 (UTC)

*      *       *     * Yeh, I agree. When something is a fact, you need not to preface it, or end it with "who he/she/it believes". I can see the anaology's point: "I saw George Bush, who I believe is the 43rd president, on TV." It is a fact, so you do not need to put that 'one belives'; otherwise all the things that people know would be 'that they believe'. Furthermore, "Who he believes is the killer" has a certain preview/ambiguity to it:

"...who he believes is the real killer. Stay tuned to the next episode to see if Kimble is right"

This is Wikipedia, not a site associated with previews and in the advertising business. Stick to the facts and what is true. As a reader of the article, I do not want to have to guess or make an opinion of my own if Kimble is right or not in knowing if Johnson is the killer, nor do I neccessarily want to know about what Kimble is thinking. MOST articles should not written/read as through the eyes of a single character, but of an omniscient force (as with MOST articles on Wikipedia should be[which leads to unbiased, totally 100% FACTUAL articles]). Write if you really need to "Kimble is after the man he believes is the killer", but you really need to back it up and say who ends up actually being the killer. Readers should NOT have to watch the series to figure out Kimble is right. That's why they turn here, to us. You should write something like: "Kimble is on the run, searching for the one-armed man who he believes, and in fact is, the killer of his wife."

But definetly DO NOT leave it if Kimble just BELIEVES he is the killer; because as we all know that just because we believe something, doesn't mean it's true. Look at about 99.999% of the world's problems today. Are they not rooted and caused by perceptions, opinions, and subjection rather than facts, data, and conclusions based on non-ambiguous calculations.

--wise old man unsigned comment by

 * Well, perhaps if you had checked the article before writing this response, you would have discovered that the situation you were railing against no longer exists, making it rather moot. With that said, however, you are making the same mistake as the other anon who posted from your same IP address did, stating that if party A (such as the main character of a TV series) believes something to be true but does not know it for sure, and party B (such as the home viewing audience of the same TV series) knows to be true what party A believes but does not know, it is always more important that party B knows.  This is not true; if we are talking about the actions a person takes due to their state of mind and state of belief, it is actively misleading to replace all discussion of what that person believes and replace it with our own knowledge of affairs.  What sense would it make, after all, to say "Lieutenant Gerard is trying to arrest and bring back for execution Richard Kimble, who did not commit any crime"?  It doesn't make any sense without the knowledge that Gerard believes that Kimble committed murder.

 * Likewise, to replace the fact that Kimble believes Johnson to be Helen's killer with third-party knowledge that Johnson is in fact the killer, creating the mistaken impression that Kimble knows for sure, is to misportray just what a slender thread of hope Kimble is following: until Johnson confesses to him in episode 77, he's been chasing this guy all over the United States, and somewhere in the back of his mind has to be the fear:  what if he catches the one-armed man and gets the truth out of him and the truth turns out to be that it wasn't the one-armed man?  To hide the fact that Kimble is on this dogged, relentless pursuit of the one-armed man, not because he knows the one-armed man is the killer but just because he's the only suspect Kimble has, is to downplay the oppressiveness of Kimble's plight. -- Antaeus Feldspar 23:31, 17 August 2005 (UTC)

 * I do remember an episode (although I've forgotten the title) where Kimble tracks Johnson to a town where the local sherriff arrests local vagrants and drifters and puts them in a fenced off yard out back for all the townspeople to see. Johnson's pic makes the papers and when Kimble sees it he comes to town. He arrives just as Johnson is released and they end up in a chase which ends in a crash and Johnson is nearly killed. Kimble comes to his rescue and hides him in some kind of summer camp (?) where he nurses him back to health, with the help of a friendly local/reporter (I forget which). While Kimble nurses Johnson back to health, Kimble shouts at Johnson, "Did you kill my wife?!" and Johnson, wearing a respirator mask and barely able to move, nods. God I miss this show! When is it coming out on DVD?! --- yours truly, Wrong Tower Guy

 * Episode 3 x 17: "Wife Killer" - great episode: "Did you kill her?  Did you kill my wife?"  Kuru  talk  00:36, 3 September 2006 (UTC)
 * Unfortunately, for Kimble, that kind of confession was obtained under duress. If you're clinging to life and the only doctor around who can treat you demands a confession that you killed his wife, you might nod your head as well.  Jclinard 15:29, 10 September 2007 (UTC)

Proposed rearrangement
Ipstenu has rearranged this article so that it has separate headers for the 1963 TV series, the 2000 TV series, and the 1993 film, and then headers for commentary about the origins of the 1963 TV series and spoofs and parodies. That would be a perfectly fine arrangement, except that this is not an article about the entire franchise of The Fugitive; it is an article about the original 1963 TV series. It used to be an article about both the original 1963 series and the 1993 film, but the 1993 film has its own article now and the 2000 remake had so little lasting impact that it is at most a minor note to be mentioned in relation to the original series that inspired it. But in Ipstenu's rearrangement, it's given earlier mention than what the people who made the original 1963 series had to say about it! Again, there is no need to add a header for "1963 TV series" because that is what this article is about -- not about every incarnation of Dr.-Richard-Kimble-on-the-run. -- Antaeus Feldspar 23:43, 7 July 2006 (UTC)
 * ... And why is it that way? This page is named 'The Fugitive (TV series)', not 'The Fugitive (1963 TV series)'. Leaving it as is pretty much dismisses the remake of the TV show (not that it was a good remake, mind you). Look, what I did was I shortened the film 'section' (which already existed, I did not put it there, I moved the 2000 tv series up above the film, and added in sections to make it clearer what we were talking about.  That's it.  I put the impact and all at the bottom because it reflects on the entire world of the Fugitive, and not just one remake or the other. I admit, it could be done cleaner, as maybe a sub section of the 1963 show, but it seemed a little more jumbled up that an easy plunk here for one would let me do.  Also, I don't think that the way the page is laid out makes it overtly obvious that there was a 1963 series.  It just says 'Here's the figutive, here's all this stuff, oh and there was a film and another series.  I get what you're saying, but the layout as is isn't reflecting that at all.  This article is for the TV Series.  Dump the movie to a one line mention with a link and organize, but just whole sale reverting back without appearing to read that I was trying to organize to give creds to all aspects of a TV show (like the name of this article implies) doesn't give any progress to an article. -- Ipstenu ( talk | contribs ) 16:12, 8 July 2006 (UTC)

- Can someone please confirm that Johnson and Kimble were struggling on a "water tower"? I've had the episode on tape and I've even seen still photos of it just this past week. I believe it WASN'T a water tower but a parachute jump tower. In the still photos there is a tower but no tank. Plus I remember, because my tapes is worn out now, that the tower had a big sign saying "parachute" or something like it on it. —The preceding unsigned comment was added by 24.66.94.140 (talk • contribs).
 * Sharp eyes. I just watched it again, and it is indeed some kind of carnival ride - definitely not a water tower.  The sign they run past says "be a real swinger, ride the imported south sea thrill, the Fantastic Mahimahi".  Nothing about parachute; and it looks like there are some tuna shaped cars laying about the tower.  Changed the article to say 'carnival' instead of 'water'.  Thanks!  Kuru  talk  15:31, 2 September 2006 (UTC)
 * Hmmmm. The Fugitive: Recaptured does claim it was a water tower within the amusement park (page 180) but that could be their error... -- Antaeus Feldspar 00:45, 3 September 2006 (UTC)
 * Fascinating - well, here's what I'm seeing: It's definitely not a functioning watertower; as Mr. 140 noticed, there is no holding tank at the top of the tower (it is shown clearly in several wide shots, including the famous "Phil Gerard: Crack Sniper" scene).  As both Johnson and Kimble enter the area, they climb some curving steps that are framed with the sign detailed above taking up about half the shot - so I assume it was an important element.  When they get to the base of the tower, there are three old amusement park ride style cars shaped like big blue fish that a equidistant around the tower.  They have large steel arms attached to them that are the same metal as the tower, but you can never see them clearly attached to the tower.  You can also see the top of the steps leading up directly to the base of the tower, and only the tower.

 * This is all original research, however. I'd hate to contradict a direct cite from a book devoted to the show; so maybe just saying "large steel tower"?  Kuru  talk  01:13, 3 September 2006 (UTC)

DVD
Is there any information on the availability of The Fugitive on DVD, will it be coming out? Frainc 20:16 September 2006

It's available as off air copies on the internet. 32 DVD's.

Method of Travel To Death House
The article says Kimble is traveling via bus to the death house and is involved in a train wreck. This is from the '93 movie, I think. On the series, IIRC, Gerard and Kimble are traveling via train and it derails. No bus in the original series. Been a while since I've seen the show. Can someone confirm or deny, and change the article if need be. Sir Rhosis 17:00, 10 December 2006 (UTC)
 * Yes, you're correct. Harrison Ford's bus was hit by a train, but David Jannsen was on board a train. Article changed. --Robertkeller 17:41, 17 January 2007 (UTC)

 * In the 2000 remake, the police van wrecks without aid of a train.Jclinard 15:42, 10 September 2007 (UTC)

Bias?
While some believe this movie and its success may have started the Hollywood trend of the 1990s for remaking old television series as feature films, this movie eschews the campy approach generally taken by such remakes, and treats its source material with respect.

Anyone else see bias here? If so, how could this be edited to not sound so biased? Darkpower 09:29, 4 September 2007 (UTC)

 * There, I have it fixed, sort of. Had trouble thinking of what to replace it with, but it has WAY less biased than it did before. Darkpower 09:29, 4 September 2007 (UTC)

First and Last
The first episode was not a special episode. It begins with Kimble, having spent 18 months in prison with appeals before escaping in a train crash on the way to the Death House 6 months previously (so 2 years after the murder). His first alias (on TV) was James Lincoln.

When the last episode was coming up for airing, on both sides of the Atlantic there was speculation in the media and amongst the many people who watched the show whether Kimble was really innocent after all. (193.249.247.220 (talk) 19:01, 21 June 2008 (UTC))

Posters
Despite being on the run for years and despite Gerard and so many other lawmen having seen Kimble, his wanted poster was never updated and continued to show him with grey hair instead of his dyed black hair. (193.250.60.65 (talk) 16:19, 16 September 2008 (UTC))

Womaniser
As the show goes on, you see how women are attracted to Kimble, and doctors are even more attractive to many women. Kimble forms relationships with women easily and it is difficult to believe that he stuck with his wife only. Possibly Kimble had a number of affairs and that was what made his wife drink as she did, and heated up the final argument between them. (193.250.59.56 (talk) 17:54, 31 October 2008 (UTC))

I've been re-watching the entire series and noticed considerably more sexual tension in episodes beginning with the second season. I assume this was a conscious decision by the writers/producers in order to boost the ratings.118.171.158.242 (talk) 06:57, 21 March 2013 (UTC)

Some thoughts
The wanted poster on Kimble was never updated though the Law knew he had blackened his hair. He was instantly recognisable from it, as happened many times. A simple beard and mustache, or a mustache and glasses would probably have been a good disguise but Kimble never tried it. It can only be assumed that he didn't so the viewer would always know it was him. Kimble always wrote his own credentials which were never checked unless he was under suspicion, then they were then found out to be false. He frequently left a place barely one step ahead of the law, having to leave his few belongings behind him. Even after travelling days when he must have had to sleep out in the woods, Kimble always looked fresh, well dressed and clean shaven. His wife was killed 2 weeks after Sept 5, 1961 and had 18 months of appeals, trial, etc. He was then on the run for 4 or 5 years (both figures given in 2-part wind up of the series.) He and Gerrard parted as friends. Gerrard had always believed he was guilty (though Kimble saved his life 3 times in the series) and that the one-armed man was an invention. He came to believe that Kimble had only committed the one murder and would commit no more. He knew that Kimble hated guns. Gerrard was finally forced to realise that Fred Johnson existed and was violent and a liar in the finale where he helped Kimble instead of taking him straight to jail as he should have. (193.250.59.241 (talk) 10:46, 3 November 2008 (UTC))

 * Is this a suggestion for making improvements, or what? SlowJog (talk) 16:32, 4 June 2009 (UTC)

 * While Kimble, in the second-half of the last episode, did get the 1AM to verbally confess to killing Helen Kimble, Kimble had actually got the 1AM to admit it in an earlier B&W episode called "Wife Killer". It's the one where a reporter finds the 1AM in her town, publishes his photo in the paper to attract Kimble, and in the resulting chase the 1AM nearly is killed driving off a road and Kimble and the reporter have to nurse the 1AM back to health. When the 1AM (I'm to lazy to type his name) first regains consciousness and sees Kimble, Kimble demands to know if he really did kill his wife. The 1AM nods. —Preceding unsigned comment added by 70.64.15.142 (talk) 23:54, 10 March 2010 (UTC)

Genre category
The list in the "legacy" section is impressive. Is it long enough to create a category that can be used to connect these? Maybe a "Fugitive genre" category? That would seem biased toward this program. Perhaps a more general term for the category could be thought of. SlowJog (talk) 16:32, 4 June 2009 (UTC)

New Zealand and the final episode
I don't know if this is worthy of inclusion. A writer for TV Guide magazine in the late 1970s or the early to mid 1980s recounted an experience in New Zealand in 1967. At a stadium where a football game was being held, there were television sets set up around the stadium. The game was suddenly halted, the sets were turned on, and everyone watched the final episode of "The Fugitive". When the episode was over, the football game resumed. GBC (talk) 07:42, 16 February 2010 (UTC)

Effect of the Finale
Helen Kimble must have been killed twice. In the episode "World's End", the newspaper ad says, 'Must contact R.K. about Sept. 17th'. William Conrad says, Sept. 17th was the night Helen Kimble was killed. In the final episode, Gerard asks Johnson, "Where were you on Sept.19, the day Helen Kimble was murdered." — Preceding unsigned comment added by 69.253.222.236 (talk) 07:23, 30 April 2012 (UTC)

The series' earlier episodes were already playing in afternoon reruns for some time before the final episode played in prime time. I remember that sponsors claimed that the market for the reruns suffered, as if seeing the resolution "spoiled" the show for viewers.

This was occasionally ofered as a reason why later TV series did not wrap up neatly when they went off the air. (E.g., Run For Your Life, whose protagonist had only two years to live. The show got through three (!) seasons, then ended abruptly, with the character neither dead nor cured.) WHPratt (talk) 03:28, 13 November 2010 (UTC)

Gerard belives Kimble killed his wife in "cold blood"?
I wanted to take a moment to compliment the person or persons who wrote or contributed to this splendid article. It is truly superb; replete with factual material and incisive analysis.

This has always been one of my favorite television shows. When first viewing it in its original airing (as a kid), the appeal was that every week one could tune in and watch someone with worse problems than one had. Now, watching it in retrospect the appeal is nostalgia for a bygone era; an era a relative eye blink ago in time yet seemingly an eternity away. It was an era when people conducted themselves with class as exhibited by their attire, manners, work ethic; an age of innocence for children when such things as “passwords” and admonitions such as “Don’t play alone or talk to strangers” were unheard of.

The series ended in 1967, just the right moment in time for it for 1968 was the year when everything changed and when capital punishment was to enter a long hiatus while being reviewed by the judiciary. The Fugitive is a crystallized moment in time, a refuge for all who feel as time exiles within a contemporary society alien to their values and tastes; a time when on television everyone smoked (even doctors!) and no one had sex.

Yes, not unlike Little Lord Fauntleroy, Dr. Richard Kimble, an innocent victim of blind justice, is a character only a writer could dream up. Every week he has one hour to search for the one-armed man, evade Gerard and capture, and fix everyone else’s problems in his spare time. No matter what the risk or cost to himself, he always does the right thing. We can only dream of such individuals of an idealized world within the one of reality that we must inhabit.

I have just one point of contention regarding the article. It is stated that Lt. Gerard believes Dr. Kimble murdered his wife in cold blood. The very nature of the crime would seem to belie that contention. Dr. Kimble’s wife was beaten to death and presumably Gerard and others believe it was in a moment of rage by her husband after an argument. (Indeed, even in truth it wasn’t a premeditated murder.)

This is further bolstered when in one episode Gerard is closing in on Dr. Kimble and he encounters a murderer who has already killed more than one victim. At the conclusion of the episode, Gerard is forced to let Dr. Kimble get away in order to take out the “other” murderer. When asked by a local police detective why he would have done that after having pursued Kimble for so long, Gerard responds: “I wanted them both. But this one was going to kill again while the other [Kimble] has done all the killing he’s going to do.”

At times, Gerard even seems to entertain moments of doubt concerning Dr. Kimble’s guilt, as nicely noted within the article. But I don’t think he (or anyone) ever thought that Dr. Kimble murdered his wife in cold blood. Perhaps this assertion within the article could be deleted as anti-factual? — Preceding unsigned comment added by HistoryBuff14 (talk • contribs) 16:24, 15 October 2011 (UTC)

Quantum Leap doesn't qualify
Quantum Leap is cited as an example of a fugitive on the run stopping to help people.

Helping people is certainly an element, but Sam Beckett (lead character played by Scott Bakula) is not "on the run". He is unable to control the fact that he is leaping from one figure to another, and must resolve the situation of that person in order to escape and leap into another person. Kimble and the many other characters are entirely in control, and even have the option to stop running and surrender themselves. GBC (talk) 05:07, 7 December 2012 (UTC)

Pilot Episode
Which episode was the pilot episode? 209.179.13.132 (talk) 23:09, 24 March 2014 (UTC) — Preceding unsigned comment added by 209.179.13.132 (talk) 23:07, 24 March 2014 (UTC)

 * "Fear in a Desert City", the first episode in which the train crashes on the way to the Death House. Then it continues six months later. It is a pity that they did not fill in the gap, where Gerard chases him as he escapes the train wreck and his first few weeks on the run. I suppose he must have stolen clothes from someone's washing line and hitched a lift as far away as he could? (80.31.144.16 (talk) 18:50, 29 October 2015 (UTC))

uncle connection
Abbythecat (talk) 23:05, 16 August 2015 (UTC)At the end of the WALLS OF NIGHT episode (April 4, 1967), Kimble is seen walking by Del Floria's tailor shop, the entrance to UNCLE headquarters. So FUGITIVE connects to UNCLE. You can view this on Youtube (or DVD) ... weird, huh? Perhaps this should be noted? Abbythecat Abbythecat (talk) 23:05, 16 August 2015 (UTC)

 * Uh, no. Interesting trivia, but I'm guessing it was probably just sloppy reuse of the same set since they were both produced around the same time. Clarityfiend (talk) 02:37, 17 August 2015 (UTC)

 * Abbythecat (talk) 21:36, 17 August 2015 (UTC)I mentioned it under the Fugitive episode guide as trivia. Hope this is OK. It is interesting trivia, but I agree with you, this doesn't connect the 2 shows. Thank you. AbbythecatAbbythecat (talk) 21:36, 17 August 2015 (UTC)

The wanted poster
It was never updated. It always showed Kimble with his natural grey hair in a different style. Gerard and so many others had seen Kimble as he became, with his black dyed hair in a different style. Being just 32 years old when the series started, presumably Janssen had to dye his hair grey when playing Kimble, upto the point where he escaped Gerard after a train crash?(80.31.144.16 (talk) 18:44, 29 October 2015 (UTC))

Nightmares
In the eleventh episode, "Nightmare At Northoak", it is revealed that Kimble has a regular nightmare where Gerard corners him and shoots him. Kimble is finally caught and while waiting for the warrant to take him away, Kimble tells Gerard that his nightmare is that after he (Kimble) dies, Gerard will find the one armed man (he had not been able to find). The show ends in another town with the words; "Kimble's only consolation is that somewhere, perhaps here, there is a one armed man who has nightmares of him." (83.37.123.24 (talk) 18:57, 3 November 2015 (UTC))

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Requested move 15 February 2020

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: no consensus. (closed by non-admin page mover) — Nnadigoodluck 🇳🇬 09:22, 1 March 2020 (UTC)

The Fugitive (TV series) → The Fugitive (1963 TV series) – Given the existence of the page The Fugitive (2000 TV series), the "Naming conventions (television)" suggests further disambiguating the title of this article. Gabbe (talk) 07:59, 15 February 2020 (UTC) —Relisting.  NNADI GOOD LUCK  ( Talk | Contribs ) 11:27, 22 February 2020 (UTC)
 * Support per WP:NCTVUS. Jerm (talk) 20:27, 15 February 2020 (UTC)
 * Support per WP:NCTVUS. Let's also fix the incoming links post-move and redirect the original title to the DAB page per WP:INCDAB. -- Netoholic @ 03:36, 16 February 2020 (UTC)
 * Oppose. This is the exact sort of situation this recent RFC was meant to address.  Calidum   16:03, 17 February 2020 (UTC)
 * Oppose per above. Very clear primary topic. -- Necrothesp (talk) 13:48, 19 February 2020 (UTC)
 * Oppose per Calidum. The 2000 series came and went with barely a ripple, totally unlike the 1963 series. Clarityfiend (talk) 19:42, 19 February 2020 (UTC)
 * Neutral – I personally hate the way that RfC was interpreted (i.e. much too broadly, IMO), but I do agree that in very, very rare cases, it does make sense to do a "primary subtopic" disambig'ed title. This situation is one of those cases which comes close enough to justify the "primary subtopic" exception for it to be arguable. So I'm torn... Add: In the event the article isn't moved, a The Fugitive (1963 TV series) redirect should definitely be created, though. --IJBall (contribs • talk) 04:03, 22 February 2020 (UTC)
 * Support - current title is WP:INCDAB and is a clear case where additional disambiguation helps both readers and editors alike and is supported by WP:NCTV. --Gonnym (talk) 10:17, 22 February 2020 (UTC)
 * Oppose, per primary topic (by far) and above discussion. The hatnote covers the concern adequately. Randy Kryn (talk) 03:59, 25 February 2020 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Guilty or Innocent: The Sam Sheppard Murder Case
Should this be included here as it is hardly the only production about this real life case.

110.33.0.155 (talk) 15:38, 3 June 2020 (UTC)

With no response, I have decided to remove it. 110.33.246.46 (talk) 05:51, 10 June 2020 (UTC)

Drivers Licenses
Kimble is constantly asked by police or sheriff’s deputies to produce a drivers license. He typically complies. Just how in the heck did Kimble get so many apparently official licenses with false names?? 2601:246:4A80:85E0:24BE:4078:F8E9:5B4B (talk) 20:29, 20 December 2021 (UTC)

Sorry to keep undoing edit
My OCD got the better of me just then. Thylacine24 (talk) 16:50, 13 March 2024 (UTC)

1963-67 isn’t just 1963
Why does the title of this article say “1963 TV series” when the article itself says the show lasted from 1963 to 1967? Wouldn’t “The Fugitive (1960’s TV series)” be more accurate?

“1963 TV series” makes it sound like it only ran one season, ever, which was in the year 1963.

And of course that’s not the case.

Thegoldenconciseencyclopediaofmammals (talk) 23:33, 11 June 2024 (UTC)

 * It's standard to use the premiere year in dabs, e.g. The Incredible Hulk (1996 TV series). If you had a show that ran over two decades, it would make the dab awkward your way. Clarityfiend (talk) 04:17, 12 June 2024 (UTC)

title: Talk:The Fugitive (1963 TV series)


text:
Ricardo Arjona

Edgar Ricardo Arjona Morales (born 19 January 1964), known as Ricardo Arjona, is a Guatemalan-Mexican singer and songwriter. He is one of the most successful and best-selling Latin American artists of all time, with more than 20 million records sold. His music ranges from ballads to Latin pop, rock, pop rock, Cuban music, and more recently a cappella performances and a mixture of Tejano music and Norteño music, and Latin sounds. Arjona is noted for his lyrical style, and often addresses topics such as love, sexuality, violence, racism and immigration.

As of 2016, Arjona had released sixteen studio albums, one live album, nine compilation albums and forty-three singles. Four Arjona albums reached number one on the Billboard Top Latin Albums, and ten reached number one in Argentina. Four albums had charted on the Billboard 200. Four singles had reached number one on the Billboard Latin Songs chart and seven had done the same on Latin Pop Songs. His work earned him numerous awards and accolades, including one Grammy Award, one Latin Grammy Award, the Latin Heritage Award as well as awards from the American Society of Composers, Authors and Publishers; a silver and golden torch and two silver seagulls from the 2010 Viña del Mar International Song Festival, two Billboard Latin Music Awards, and a "Latin Trajectory of the Year" Award at the Orgullosamente Latino Awards of 2010.

Early life
Edgar Ricardo Arjona Morales was born on 19 January 1964, in Jocotenango, Guatemala, to parents Ricardo Arjona Moscoso and Mimi Morales de Arjona. He spent most of his childhood in Guatemala City, where he began his musical instruction. At age twelve, he participated in the contest "Festival Infantil Juventud 74" with "Gracias al Mundo", a song composed by his father, finally winning the event. Although he initially enrolled in architecture and engineering at the Universidad de San Carlos de Guatemala (USAC), he graduated with a degree from the School of Communication Sciences.

Sports career
Arjona was a talented basketball player who played for Leones de Marte and TRIAS. He toured Central America as a member of the Guatemala national basketball team. Until recently, he held the record for the most points scored (78) in a single game by a Guatemalan. He also taught at a primary school (called Santa Elena III), where he claimed to have spent six hours giving lessons and the rest of the day playing football. This earned him a visit from a Ministry of Education representative, who was sent to evaluate his pupils. The representative found that the students' education was actually above average. In 1988, he became the basketball coach of a boys' school (called Instituto Don Bosco).

1980s: Beginnings and early breakthrough
Arjona began his musical career at age 21, when he signed with the now defunct Guatemalan record label, Discos de Centroamérica, S.A., and distributed by PolyGram, and released his debut album Déjame Decir Que Te Amo in 1985. The label attempted to portray Arjona as a stereotypical Latin lover. The title track was released as a single, "Déjame Decir Que Te Amo". This album failed to chart, but received moderate praise from critics, with Allmusic awarding it three stars out of five. Because of his negative experience recording the album and its commercial failure, he decided to abandon music to teach school. At age 24, Arjona reversed course and sought the opportunity to represent his country in the OTI Festival with the song "Con Una Estrella En El Vientre". The sessions immediately following this decision produced the song "S.O.S Rescátame". His second studio album, Jesús, Verbo No Sustantivo brought him commercial and critical success across Latin America and the U.S. and became a best-seller in many Central American territories.

1990s: International breakthrough, Si El Norte Fuera El Sur and Sin Daños a Terceros
Arjona started the new decade as a regular in the Mexican telenovela (soap opera) "Alcanzar una Estrella" (English translation: Reaching a Star), which assisted him in becoming a known singer throughout Latin America. After joining Sony Music in 1990 he released Del Otro Lado del Sol, one of his least successful albums. That year, he started composing songs for other artists, such as Yuri's "Detrás de Mi Ventana", for her album Nueva era (1993). The song became a hit, reaching No.1 on the US Hot Latin Songs chart for three weeks in 1994. He later covered the song in his compilation album, Trópico (2009), alongside Melina León. Animal Nocturno, Arjona's fourth studio album, was released in 1993. The album contained the hit singles "Mujeres" (No. 6 on Latin Songs) and "Primera Vez" (No. 6 on Latin Songs) and received thirteen platinum and one diamond certifications. Animal Nocturno sold 500,000 copies in 1994, and carried Arjona to fame along with his work on the Mexican telenovela Alcanzar Una Estrella, which allowed him to showcase his songwriting and singing skills.

He confirmed his reputation with the release of his fifth studio album, Historias. The album sold 2 million copies throughout Latin America and received twenty-seven platinum and two diamond certifications, including quadruple Platinum in Argentina. Historias reached No. 43 on Top Latin Albums and included the hit singles "Te Conozco" (No. 3 on Billboard Latin Songs) and "Señora De Las Cuatro Décadas" (No. 7 on Latin Songs). The Allmusic review by Jason Birchmeier awarded the album 4.5 stars stating that "If you were to pick only one Arjona album for your collection that wasn't a greatest-hits compilation, this should be the one. Historias was a career-defining success for Arjona." His fourth and fifth studio albums were the best-selling of his career.

In 1996, he released his sixth studio album, Si El Norte Fuera El Sur. This was the first album in which Arjona ventured beyond the theme of love to explore nationalism and globalization, among other sociopolitical topics. Its four singles were "Si El Norte Fuera El Sur" (No. 9 on Latin Pop Songs), whose main theme is the relationship between the United States and Latin America, "Tu Reputación" (No. 18 on Latin Songs, No. 2 on Latin Pop Songs), "Me Enseñaste" (No. 18 on Latin Pop Songs), and "Ella y Él" (No. 24 on Latin Songs, No. 8 on Latin Pop Songs). Birchmeier awarded the album 4.5 stars stating "All in all, it's Arjona's third classic album in a row, each distinct from its predecessor." Billboard named it the Rock Album of the Year in 1997. Si El Norte Fuera El Sur received multiple Platinum certifications in the United States and Argentina.

In 1998, he released his seventh studio album, Sin Daños a Terceros. Terry Jenkins from Allmusic, on his review of the album, awarded it 4 stars, writing that "Sin Daños a Terceros continues Ricardo Arjona's streak of accomplished, affecting albums that spotlights both his melodic skills and his sharp social consciousness." His fourth consecutive album to receive critical success, Sin Daños a Terceros also enjoyed commercial success, debuting at No. 6 on Top Latin Albums, the first to reach the top 10, and reaching No. 3 on the Billboard Latin Pop Albums chart. It contained the hit singles "Dime Que No" (No. 6 on Latin Songs, No. 3 on Latin Pop Songs), and "Mentiroso" (No. 22 on Latin Songs, No. 5 on Latin Pop Songs). The album received multiple Platinum certifications from the United States and Argentina. More than 700,000 copies were sold.

On 5 December 1998 and in front of a live audience of more than 100,000 people at the Hippodrome of Guatemala City, Arjona recorded his first live album, the 1999 release Vivo. The album was moderately successful, certified Gold in Mexico and Platinum in the United States and Argentina. It produced the hit "Desnuda", which became his first No. 1 on the Billboard Top Latin Songs chart. As of December 2005, Vivo had sold 243,000 copies in the United States, his best-selling album there as of that date.

2000–2005: Galería Caribe, world tour, Santo Pecado, hiatus and Adentro
Arjona's eighth studio album, Galería Caribe was preceded by the single "Cuándo", which became a commercial success and reached No. 1 on both Top Latin Songs and Latin Pop Songs. The singer commented that the album consumed twelve months and that before starting, he "had more friends." He also mentioned he had "lived in love with Caribbean culture and music since my childhood." Birchmeier awarded the album 3 stars stating "All in all, Galería Caribe is a curious entry in Arjona's catalog that most fans can overlook without missing much." The album became his first to chart on the Billboard 200, peaking at No. 136, while charting at No. 1 on Top Latin Albums and Latin Pop Albums. It was awarded Platinum certification in Mexico, Argentina and the US. Its three singles were "Lo Poco Que Queda De Mi"; "Mesías", which reached No. 19 on Top Latin Songs and No. 11 on the Latin Pop Songs chart, and "A Cara O Cruz", which reached No. 28 on Latin Pop Songs. To promote the album, which sold more than one million copies, Arjona embarked on his Galería Caribe Tour, which began in Mexico in 2000 and finished in 2001.

In "Mesias" Arjona talks about a character who appears "in the form of a wealthy, well-armed magnate with [...] some sinister plan for the world." Some critics argued that it was a "metaphorical attack" on capitalism and imperialism, named as "classic Arjona targets." The song became a subject of some controversy when fans and critics noted connections between its theme and the attacks of September 2001, months after the song's release, which resulted in the FBI investigating Arjona. The singer later commented that "Mesías" had no relationship to the attacks, and that the lyrics were pure coincidence. He further stated the FBI had never spoken directly to him, but instead to somebody on his team.

On 19 November 2002, Arjona released his ninth studio album, Santo Pecado, preceded by singles "El Problema", which reached No. 1 on both the Billboard Top Latin Songs and Latin Pop Songs charts, and "Minutos", which reached No. 5 on the Top Latin Songs and No. 3 on the Latin Pop Songs charts. Santo Pecado became a commercial success, selling more than 300,000 copies just in Mexico (double Platinum), 160,000 in Argentina (quadruple Platinum) and 200,000 in the United States (double Platinum). In 2003 Arjona released Lados B, his second compilation album, including songs that were "not so commercial", and that he wanted to give a second chance at radio airplay. The album contained songs from all his past studio albums. Critical reception for the album was mixed. Birchmeier noted that it was "a misleading entry point into Arjona's catalog." Despite this, the album received a Gold certification in Mexico.

On 6 December 2005, Arjona released his tenth studio album, Adentro. This was Arjona's first collaboration with Tommy Torres. In an interview, the singer commented that he first "tested" Torres by sending him the "hookiest and darkest tracks" on the album, "Acompañame A Estar Solo" and "Iluso". Torres said that he "went all out on the first demo, hiring a full band that included a string orchestra", which grabbed Arjona's attention. The album was critically acclaimed, with Evan C. Gutiérrez from Allmusic giving it four stars out of five and commenting that "Be it for the stripped, natural production value, the confident performance of Ricardo Arjona, or his relevant-as-ever lyricism, he's got both his loyal fans and the execs at Norte smiling. While the instrumentation, performance, and overall sonic palette of this project are minimalist and unassuming, there is a depth and brilliance to them. The listener's ear does not tire or want for more, humble as Adentro is." Arjona further commented that Adentro was "a very representative and tremendously complete album," adding that "having different producers made it rich in possibilities."

Adentro became Arjona's second studio album to chart on the Billboard 200, reaching No. 126. It reached No. 3 on the Top Latin Albums and No. 2 on the Latin Pop Albums charts. Five singles were released from Adentro: the lead single, "Acompañame A Estar Solo" (No. 7 on Latin Songs, No. 1 on Latin Pop Songs), "Pingüinos En La Cama" featuring Spanish singer Chenoa (No. 44 on Latin Songs, No. 19 on Latin Pop Songs); "Mojado", featuring American Tejano/Norteño band Intocable (No. 34 on Latin Songs, No. 30 on Latin Pop Songs), "A Ti" (No. 14 on Latin Songs, No. 3 on Latin Pop Songs), and "De Vez En Mes" (No. 49 on Latin Songs, No. 16 on Latin Pop Songs). The album sold more than a million copies worldwide.

2006–2007: Adentro Tour and Quién Dijo Ayer
In 2006, Arjona started the first leg of his world tour, named the Adentro Tour. The tour resumed in 2007 for a second leg, in which he visited more countries. Approximately two million people attended the performances. The tour was officially closed on 14 September 2007 on the mainland city of Barquisimeto, Venezuela, during the International Fair, in front of more than 100,000 people. On 21 August 2007, Arjona released his fifth compilation album, Quién Dijo Ayer. The album is a two-disc set which contains, on the first disc, new versions of past hits, some of them including featured artists such as Marta Sánchez on "Tarde (Sin Daños a Terceros)" from Sin Daños a Terceros; Panteón Rococó on "Si El Norte Fuera el Sur", from the album of the same name; Marc Anthony on "Historia de Taxi", from Historias; Eros Ramazzotti on "A Ti", from Adentro, and Sandro on "Realmente No Estoy Tan Solo", from Historias, and which was the last song recorded by the singer, who died on 4 January 2010. Arjona's manager told Argentinian newspaper Clarín that "[the singer] had the idea of inviting Roberto [Sandro] for his album, he [Sandro] showed enthusiasm and manifested the same degree of appreciation to Arjona. It seemed to him that he [Arjona] was an artist who proclaims the same values he proclaimed." The second disc contained remastered versions of the hits on the first disc, but in their original versions. It was the second time Arjona collaborated with Torres.

The album became a critical and commercial success. Jason Birchmeier commented that "while only a couple of the new versions depart stylistically from the originals, the contemporary productions breathe new life into these songs, which should be well known by longtime fans", and reaching double Platinum in Argentina and the United States, and Platinum in Mexico. The record was additionally certified Gold in Colombia, Chile and Venezuela. Two singles were released from the album. The first, "Quién", a previously unreleased song produced by Torres, failed to reach the top 20 on Latin Songs, standing at No. 21, but reached No. 4 on the Latin Pop Songs chart. Arjona commented that "'Quién' is a story with the hurry of the desperate, is the flashback of those who end up loving alone." "Quiero", the second single, reached No.12 on the Latin Songs chart, and No.8 on the Latin Pop Songs chart.

2008–2010: New label, Quinto Piso, world tour and Poquita Ropa

After spending the majority of his career with Sony, and Sony BMG, Arjona signed a long-term deal with Warner Music Latina in September 2008. Iñigo Zabala, chairman of Warner Music Latin America, said "He's an artist that fits perfectly with our company," and that "We are a label that has a major catalog of songwriters and quality pop and rock from the likes of Maná, Alejandro Sanz, Laura Pausini, and now, Arjona." Arjona announced his eleventh studio album, 5to Piso, on 18 November 2008. The album was preceded by the first single, "Cómo Duele" on September, which reached No. 2 on Top Latin Songs and No. 1 on Latin Pop Songs. He moved approximately 200,000 copies of the album in the first month at retail, and it went Platinum in Mexico, the United States, Spain, Argentina, Venezuela, Colombia, Guatemala, and several other countries. It debuted at No. 1 on Top Latin Albums, becoming his second chart-topper on that list, and sold more than one million copies worldwide. The album received a Grammy Award nomination for Best Latin Pop Album and a Latin Grammy Award nomination for Best Singer-Songwriter Album. The album received positive critical response. Birchmeier gave it three-and-a-half stars out of five, saying that "More typical than exceptional for Arjona at this point in his career, 5to Piso isn't as grand an album as his past few... Yet it's a great album all the same, particularly the opening run of songs that culminates with 'Cómo Duele', and it finds Arjona still at the top of his craft."

While Warner Music released his new studio album, Sony Music released a compilation album, Simplemente Lo Mejor. This led to speculation that the labels were in a fight to win Arjona's fanbase and sales. Simplemente Lo Mejor contained hits from past albums, namely Sin Daños a Terceros, Si El Norte Fuera El Sur, among others. This compilation went Gold in Mexico, and Platinum in Argentina. "Sin Ti... Sin Mi" was released as 5to Piso's second single, and reached No. 4 on both Top Latin Songs and Latin Pop Songs charts. On 24 April 2009, Arjona started the Quinto Piso Tour. The tour included 123 shows in the United States, Spain, Argentina, Guatemala, Colombia, Venezuela and Mexico, among many other countries in Latin America, and ended on 18 June 2010.

The Quinto Piso Tour was one of the most successful tours made by a Latin artist, with more than one million attendees from 19 countries. He received in 2010 the "Latin Tour of the Year" Billboard Latin Music Award for the tour. On 26 February 2010, he participated in the 2010 Viña del Mar International Song Festival as one of the top performers. His performance was followed by Colombian singer Fanny Lu. One hour after Lu's performance, a 8.8 magnitude massive earthquake affected the south-central regions of Chile. On social networks, Arjona was jokingly blamed, with remarks such as "earthquakes go where he goes", making reference also to the earthquake felt in Mexico after the singer arrived. After the tour, Arjona announced his twelfth studio album, Poquita Ropa, which was released on 24 August 2010. It was preceded by the genre-mixing track "Puente", an ode to Havana, Cuba's largest and capital city. The song failed to break in the upper tier of Billboard charts, and was reportedly prohibited in Cuba. The album became his third to debut or reach No. 1 on the Top Latin Albums chart. Within two weeks of release, the album received a Gold certification in Chile, United States, Colombia and Puerto Rico; and Platinum certification in Mexico and Argentina.

The album marked a change in Arjona's sound, which he called a "stripped-down version" of his music. Birchmeier gave the album a somewhat positive review, saying that it was a "stripped-down acoustic effort" yet considered it "impressive". Two more singles were released from Poquita Ropa, "Vida", a song the singer dedicated to his recently deceased father; and "Marta", an autobiographical song whose music video stars Edith González. Both, like the lead single, failed to gain much airplay in the U.S., and charted poorly.

2011–2013: Independiente, Metamorfosis and world tour
Arjona released his thirteenth studio album, Independiente, on 4 October 2011. It became his fourth number-one on the Top Latin Albums chart the week ending 22 October 2011; and within a week went Gold in Chile, United States and Mexico; and Platinum in Venezuela and Argentina. Independiente was his first release as an independent artist, appearing on his Metamorfosis label, a company he created to refocus his career. The album was distributed by Warner. Billboard noted that although other groups have decided to go independent after working with major record labels, Arjona was by far the most important artist in Latin pop to do so. By the end of 2012, the album sold more than 500,000 copies in the United States and 4,000,000 copies worldwide.

"El Amor" was released in August 2011 as the lead single from Independiente; it managed to top both the US Latin Songs and Latin Pop Songs charts. It also became a hit in the rest of Latin America, reaching number one in several countries. "Fuiste Tú", a collaboration with Guatemalan singer Gaby Moreno, followed as second single in February 2013; it reached number two on the Latin Songs chart, and topped the Latin Pop Songs chart. On May, Arjona released the music video for "Mi Novia Se Me Está Poniendo Vieja." However, "Te Quiero" was released as third single in July 2012, and became the second song off the album to top the Latin Songs chart. This made Independiente Arjona's first album to ever have two number-one hits on that chart. The song also topped the Latin Pop Songs chart, becoming the third song off the album to do so. "Si Tu No Existieras" was released in November 2012, and managed to peak at number 14 in Mexico.

To promote the album, Arjona embarked on the Metamorfosis World Tour. The show, his first since 2009's Quinto Piso Tour, comprised five legs across North and Latin America. It ran from January 2012 until March 2013 and included 102 shows in 18 countries, with an estimated attendance of over one million people. The tour opened in Toluca, where he had started all of his concert tours, and grossed more than $13.4 million in the United States.

2021: Blanco y Negro tour
In September 2021, Arjona announced a 25-date North America tour, named Blanco y Negro. The tour, presented by Loud and Live, kicked off March 24, 2022 at the Kiva Auditorium in Albuquerque and concluded on June 11, 2022 at Coliseo de Puerto Rico in San Juan.

Personal life
In 1988, during his time in Buenos Aires, Argentina, he met Puerto Rican Leslie Torres with whom he began a long-distance relationship as Arjona had decided to stay in Mexico for a few years, and where he even obtained his citizenship in 1999. Leslie occasionally visited him, until 1992 when they got married in an impromptu ceremony in Las Vegas. Before arriving in Las Vegas he decided to try his luck in a casino playing blackjack and lost almost all the money he had with him. Upon arriving in Las Vegas after settling in a hotel, with the little money he had left he tried his luck again at gambling and made a fortune.

The year they married, Torres gave birth to their daughter, Adria, who currently works as an actress; two years later in 1994, their son Ricardo was born. After ten years of marriage, they announced their separation. Although they were legally separated as of 2005, for 3 years they fought for custody of their children during which she accused him of violence.

In 2010, began his current romantic relationship with Venezuelan model Deisy Arvelo, with whom he had his third child, Nicolás Arjona Arvelo. On September 27 of that same year his father Arjona Moscoso died at the age of 78. Three years later, on December 4, 2013, his mother Nohemí Morales died at the age of 71.

Music and style
Arjona's primary musical style is Latin pop. He usually sings without the help of featured or additional singers. His style varied over the years, as Arjona took risks to keep his music from becoming stale. In contrast to the ballad-laden Déjame Decir Que Te Amo, on the following two albums Arjona experimented with a range of pop/rock styles. Animal Nocturno intersperses energetic rock songs among heartfelt ballads, and the instrumentation is heavy on guitar, synthesizer, and drums. On Historias, each song is stylistically distinct and the instrumentation is varied. Around two dozen instruments were used on the album, including horns, piano and Hammond B-3, and strings. On Si El Norte Fuera El Sur, he crafted a relatively low-key effort characterized by intimate songs about love, culture, and politics. Most of the songs were written in 1995 while Arjona was touring and are performed acoustically with Caribbean touches. Besides a couple of rockers, the songs are fairly even in tone and tempo.

In Galería Caribe, Arjona explored Afro-Caribbean sounds, employing traditional rhythms such as guaracha, bachata, merengue, and salsa. On Santo Pecado, Arjona explored the use of symphonic sounds on his ballads, amidst a couple of rock songs stylistically similar to those on Sin Daños a Terceros. This album included the song "La Nena (Bitácora de un Secuetro)", in which Arjona relates the story of a girl who is kidnapped by her uncle. Then, in 2005, Arjona adopted new sounds in Adentro. Gutierrez considered the instrumentation, performance, and overall sonic palette to be "minimalist" and "unassuming". On this album, Arjona included more Latin sounds, Mexican and Tejano music on "Mojado", a song about immigration; merengue and Colombian tones on "Adiós Melancolía", and some on "No Te Cambio Por Nada".

On 2007's Quién Dijo Ayer, Arjona reworked past songs to fit a new style. For example, he gave "Si El Norte Fuera El Sur" a ska beat, and performed with the aid of Panteón Rococó. He transformed "Historia de Taxi" into a salsa song, with the help of American singer Marc Anthony and pianist Sergio George, who commented that "It's been interesting to work with two figures from different music worlds on the interest of making good music." He further stated that "every time a reunion of this kind happens, it's a reason to celebrate." Birchmeier commented, "While only a couple of the new versions depart stylistically from the originals, the contemporary productions breathe new life into these songs." "Realmente No Estoy Tan Solo" was re-recorded with singer Sandro. This turned out to be the last song recorded by the latter, who died 4 January 2010. This album included three new songs. The lead single, "Quién" was written by Arjona and produced by himself and Torres. "Quiero" and "Espantapájaros" are the other two new songs on the album.

5to Piso is mainly driven by piano and strings. Exceptions are "La Bailarina Vecina", crafted with pure orchestral arrangements; and "Ni Tú Ni Yo", a Ranchera style song featuring Paquita la del Barrio. The album also includes a song called "Que Nadie Vea", in which the artist sings about homosexuality. On 5to Piso, Arjona commented that he tried to recoup the freshness of his first albums, saying that he "tried to reconcile a little with the Ricardo Arjona from the first albums to let out some of that freshness that makes so good to the songs." Poquita Ropa offered a drastic change in which Arjona minimized the number of instruments. The result was a set of a cappella performances. Arjona commented about this album that "music and women look better with little clothes." Production was handled by Arjona and Dan Warner, who also worked with Shakira, Celine Dion and Christina Aguilera. Birchmeier gave the album a somewhat positive review, saying that it was a "stripped-down acoustic effort", considering it "impressive". He also commented that Poquita Ropa "finds Arjona at his most naked, backed by spare arrangements of acoustic guitar, piano, and Hammond B-3 along with occasional touches of strings, woodwinds, and chorus vocals."

"Puente", the lead single, is the only notable exception. It lasts eight and a half minutes and is divided in three parts. The first is sung mainly with a piano. The second part is a ballad with Caribbean and Latin sounds, with some salsa and Cuban influences. The third mixes salsa and merengue, with Cuban influences. "Puente" resembles Arjona's work on Galería Caribe. This album was the first since Adentro, that Arjona worked without Torres. In Independiente, Arjona returned to his trademark sound, which Torres helped craft. David Jeffries of Allmusic gave the album a somewhat positive review. He compared the production values and musical style of Independiente with those of past albums Animal Nocturno and Historias, stating, "Returning fans will revel in this combination of freedom and growth, and appreciate the return of producer Tommy Torres, the man who has been behind the boards for quite a few of Arjona's most popular releases", referring precisely to the absence of Torres in the production of Poquita Ropa.

Discography

 * Déjame Decir Que Te Amo (1986)
 * Jesús, Verbo No Sustantivo (1988)
 * Del Otro Lado del Sol (1991)
 * Animal Nocturno (1993)
 * Historias (1994)
 * Si El Norte Fuera El Sur (1996)
 * Sin Daños a Terceros (1998)
 * Galería Caribe (2000)
 * Santo Pecado (2002)
 * Adentro (2005)
 * 5to Piso (2008)
 * Poquita Ropa (2010)
 * Independiente (2011)
 * Viaje (2014)
 * Circo Soledad (2017)
 * Blanco (2020)
 * Negro (2021)

Awards and nominations
In 1993, he received the Rafael Álvarez Ovalle Order from the then President of Guatemala, Ramiro de León Carpio, for his international accomplishments. At USAC a library hall bears his name. His birthplace, Jocotenango, named a street after him. In 2017, Arjona received the Lifetime Achievement Award at the 2017 Billboard Latin Music Awards. Arjona is also a recipient of the Order of the Quetzal, Guatemala's highest condecoration. In August 2015, Arjona returned the Order of the Quetzal, with which he had been bestowed upon by president Otto Pérez Molina in 2013, and demanded Pérez Molina's resignation, amid accusations of corruption.

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

title: Ricardo Arjona


text:
Organization for the Reconstruction of the Communist Party of Greece

The Organization for the Reconstruction of the Communist Party of Greece (Οργάνωση για την Ανασυγκρότηση του Κομμουνιστικού Κόμματος Ελλάδας (ΟΑΚΚΕ)), mostly known by its acronym OAKKE, is a minor Greek political party known for its strong anti-Russian positions. The Secretary of the Central Committee of OAKKE is Ilias Zafiropoulos.

OAKKE was established in 1985 and is part of the Greek far-left, and it stems from the multiple splits of the Greek Maoist movement. It is best known for its pro-industrialisation views, as it considers industrial growth a prerequisite for the development of the working class, which is required for the socialist revolution.

Another political feature of OAKKE is its views regarding an alleged Russian conspiracy to corrupt the left and install its own world regime. They argue that Russian imperialism is today the main threat for all humanity, just like Adolf Hitler was in the 1930s and 1940s. OAKKE supports the independence of Chechnya from Russia and sees Russia as the organizer of the September 11, 2001 attacks.

History
The Organization for the Reconstruction of the Communist Party of Greece (OAKKE) is a Greek political organization of Marxist - Leninist - Maoist ideology. It was founded on July 20, 1985, by former members of EKKE – MLKKE party (EKKE was the “Revolutionary Communist Movement of Greece” and MLKKE was the “Marxist – Leninist Communist Party of Greece”, both of Maoist orientation), who left the party in June of that year. In the formation of OAKKE took part namely the whole Party Organisation of Piraeus of EKKE – MLKKE, all the members of EKKE - MLKKE who, before the unification of the two parties in 1982 were members of EKKE except for two, and some other members and cadres of EKKE - MLKKE emanating from the pre-1982 MLKKE from the rest of the country.

Strategy
The political strategy of OAKKE is the reconstruction of the old revolutionary Communist Party of Greece (KKE) of the period 1918-1956 (as the currently named KKE party is considered by OAKKE as a non-communist, social-fascist party), but under the new conditions and enriched with the experience the last 50 years and Maoism. The revolution in Greece, according to OAKKE, will be socialist in nature and anti-imperialist in form and will establish the political status of the dictatorship of the proletariat, while the broader front through which the proletariat would lead to broad democratic anti-fascist movement will be the Anti-Russian Democratic and Patriotic Front (ADIPAM). The basis of this analysis is the political line of the Third Communist International on the Antifascist Front and the Three Worlds Theory of the Chinese Communist Party in the 1970s. OAKKE places great emphasis in their writing to the defense of the political heritage of the Secretary of the KKE between 1931 - 1956 Nikos Zachariadis, whom he considers, in line with the contradictory information received by Russian authorities between 1973 and 1990, but mainly based on political analysis, murdered by the leaders of the CPSU. It is also  the only organization in Greece nowadays, which maintains next to the forefront of its publications the five heads of Marx - Engels - Lenin - Stalin - Mao.

Russian social imperialism
According to the positions of OAKKE, which describes itself as a proletarian revolutionary and anti-imperialist organization, it conducts a struggle mainly against “Russian social imperialism”, which is currently considered by it the biggest threat to world peace, as was the pre-war Nazi Germany, based, as said before, on the Maoist strategy of the three worlds. The Russian social imperialism, according to OAKKE, from 1991 on, enters a new phase because the perestroika and reform "were the most profound attempts of social-fascist Russia to become autonomous from the USSR to try from that moment onwards to coil again around her a neo-tsarist empire from the ruins of the USSR. This is the era of the "dead bug" which ends today with the creation of Russian-Chinese war axis.

Neo-Nazi axis (Russia, China, and Iran)
Furthermore, according to the positions of the organization, there is an allied axis which consists of Russia - China - Iran, under the overall guidance of the first, which is, in its essence, neo-Nazi. Despite its opposition to the expansionist policy of the most chauvinistic aspects of the Israeli bourgeoisie and its support for the struggle of the Palestinian people and to gain this right to an independent state, OAKKE, unlike all the other organizations and parties in Greece with reference to the left, defends the armed fight Israel is waging against forces such as Hamas and Hezbollah, and believes these two organizations are Islamo-Nazi and hidden arms of the neo-Nazi axis.

So, OAKKE took -in the main- the side of Israel in the battle that the latter gave in the summer of 2006 against Hezbollah, as OAKKE believes that anti-Semitism, today expressed by the request for the destruction of the state of Israel and the theory of "stateless Jewish capitalist" and "the Jewish conspiracy for world domination," will be one of the flags of the Axis in a possible global war waged against first and foremost the peoples of the world, but also against the rivals of Russia, China, and Iran, thus the western imperialists.

Productive sabotage
A key role in the analysis of the organization is played by the concept of "productive sabotage." This is defined by OAKKE as the destruction of the productive capital in Greece, through either the breaking down and closure of existing production units, often with “left” arguments (ecological, supposedly anti-capitalist, archaeological, etc.) or by preventing the investments by the local and western bourgeoisie. This attributed – by OAKKE – to the relationship of the leaders of the KKE and SYN from 1956 on, and of the prime ministers Andreas Papandreou and Costas Simitis, Kostas Karamanlis and George Papandreou with Russian social-imperialism. According to OAKKE, Andreas Papandreou, the father of the current prime minister and founder of the governing PASOK party, was one of the best Russian agents of all time.

In the OAKKE analysis, the Russians and their allies or agents in Greece do this because Russia -as an imperialist country - is economically much weaker than western imperialism, and so, whatever productive capital cannot be controlled by it, must be damaged in order to economically and politically weaken a country, so as to subdue it. Direct or indirect relations with Russian social imperialism, based on the start of their business or other information from their business process, are attributed by OAKKE to large Greek businessmen, among them Sokratis Kokkalis, George Bobolas, Panos Germanos, Andreas Vgenopoulos etc.

Productivism
A frequent criticism made by other organizations who refer to Marxism towards OAKKE is the one of "productivism,” a theory which gives priority to the development of productive forces and not to the change of the relations of production, which was characteristic of the Mensheviks in the Russian social democracy before the Revolution of 1917 and a point of friction with the Bolsheviks. OAKKE, beyond its founding declaration of 1985, in which it refers critically to this Menshevik productivist theory, most recently has answered that the fight that it gives and that it calls people to give is not mainly for the development of the productive forces, but in the opposite for the breaking of the productive relations of the country's dependence from Russian social imperialism, ultimately from any imperialism as part of the revolutionary destruction of all capitalist relations of production and their replacement by revolutionary means with socialist relations, in the way for a world classless communist society.

Participation of Greece in the European Union
Finally, another difference with the other parties of the left is that OAKKE supports strategically (since November 1995 and its 2nd Conference) the participation of Greece in the EU, on the grounds that it is a union of bourgeois states made by consensus and not with violence, that in the main the internal relations are not based on imperialist imposition of the large state to the small one but on the bourgeois democratic consensus of the 27 States, and that through this process the European proletariat is objectively released to a certain degree by the nationalism and the chauvinism of the bourgeoisie of each country. Most importantly, since 1990 and its 1st Congress, OAKKE was supporting – in terms of tactics – the eve of Greece in the then EEC (as opposed to the founding position of OAKKE in 1985, which was a direct exit from the EEC) with the notion that United Europe constitutes a mound to the two superpowers, Russia and the US, especially to the Russians, who according to Mao Zedong, have as their first geo-strategic goal the military conquest of Western Europe.

In accordance to its position on the need to strengthen the political unification of Europe, left behind by economic integration, the organization was in favor of the Euro-constitution, unlike all the other organizations listed on the left.

Reconstruction of the world communist movement
On the question of reconstruction of the world communist movement, the OAKKE, condensing its position, notes that "the new revolutionary workers parties will now have a big mandate from their members and followers: Not to become the major new rulers of society and their executives and their members not to become the new exploiters.

This means that even from now, even the smaller new workers' parties and the most industrious young revolutionary nuclei should be applied two or three basic principles: never “liberate” the masses against their will but to respect their own moods, never allow their members to convert their knowledge and their previous fight in authoritarianism, arrogance and material benefits but always to come under the criticism of the masses and to live like them, not to divide the workers to “ours” and  “not ours” but to unite them by an open and honest policy, even against the current and not telling everyone what he wants to hear, and above all never put any specific class interests over the general class interests and national interests over global interests of the working class.

Election results
Since 1989 OAKKE has participated in all national elections and European elections. In national elections in 1996 it collaborated with the “Rainbow”. In the 2004 elections, it received 5,090 votes (0.08%). In the parliamentary elections of 2007, it received 2,473 votes(0.03%). In the 2009 European elections, it received 2,808 votes (0.05).

Since 1985, OAKKE have participated in all national elections and EU-elections. The party says that fights "against the red-brown political current", the political parties that support "Russian imperialism". In the 2004 elections for the European Parliament, OAKKE took part obtaining 5,090 votes (0.08% of the total Greek vote). OAKKE in the 1996 elections formed an alliance with the Macedonian Slavs activist party, Rainbow.

Organizations close to OAKKE
OAKKE publishes its own newspaper, New Orient (in Greek "Νέα Ανατολή"). Also the leading members Elias Zafiropoulos, Anna Stae and other personalities of the Greek left founded the Non Governmental Organization, Antinazi Initiative. The Trade Union wing of OAKKE, acting mainly in the ship repair zone in Perama, is ERGAS.

Antinazi Initiative, corresponds to the British antifascist Searchlight.

It publishes the monthly newspaper "New Orient", and wall newspapers which are posted at key points in many cities across the country by its members and friends.


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Talk:Kim Wilkie

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Hi Adam Carr, you reverted my edits of this page and said "revert wikification of common nouns, which is ugly and contrary to policy" I was wondering if you would be so kind as to link me to the particular policy page where it mentions that this is contrary to policy, as I looked on various pages and couldn't find this exact information. It would help me a great deal and help me save my time and others in the future. :) Thanks for reading.

"A nice thing to do is to drop the note on the Talk page first, and then revert," -

I have never claimed to be nice. I don't know where the policy pages are but I have been told several times that there is a policy against excessive wikification. But even if there isn't a policy I will revert excessive wikification. Wikifying common words is ugly and distracting to readers. Adam 00:03, 29 Sep 2004 (UTC)

Thank you, Adam, for your response. I would appreciate a direct link to a policy page in the future if I'm being told that my edits were somehow against policy, it's only fair. :) Perhaps you have never claimed to be nice, but I never assumed or suggested that you were! :) I just pointed out something from a Wikipedia page above. It's nice to be nice to other members, after all, no man is an island. :) I appreciate the time taken in your response and will try in future edits of pages to not add what you call "excessive wikification" though until informed by a policy page I would be inclined to think of this as an opinion and a matter of taste. Your amusing example of excessive wikification is a little extreme, but I do see the point. I was not adding internal links to Wikipedia pages that didn't exist but only to pages that did exist, to help the reader. By all means, revert any "excessive wikifications" if you feel they are correct and an admin or someone in the know has confirmed this as policy. I however am nice, and appreciate those who are nice to me in return. It's nice to be nice. :) Edit: and I don't see how farmer and prison compare to words like is and to --Demonslave 20:13, Oct 4, 2004 (UTC)

title: Talk:Kim Wilkie