text:
Swing Out Sister

Swing Out Sister are a British pop group, best known worldwide for the 1986 song "Breakout". Other hits include "You On My Mind", "Twilight World", "Waiting Game", and a remake of the Eugene Record soul composition "Am I the Same Girl?"

History
Although Swing Out Sister are currently a duo, they began as a trio in the UK. The group was formed by Andy Connell (keyboards) and Martin Jackson (drums); they were later joined by Corinne Drewery (vocals). According to the group's website, "They christened themselves after an obscure Billie Burke "B"-musical from the '40s because it was the only name they could agree upon - they all agreed they hated it." Both Connell and Jackson had been playing in other bands prior to forming SOS, while Drewery was a fashion designer and model before she became the band's lead vocalist.

52nd Street's Diane Charlemagne was influential in the period just prior to the band signing to Phonogram Records. Connell and Jackson, outside of their usual roles as Manchester musicians in A Certain Ratio and Magazine, were producing Electro tracks for Morgan Khan's Streetwise label with a degree of underground success. This activity triggered interest from a few major labels including Phonogram/Mercury Records. Vocalised songs were asked for, so Connell, who knew Charlemagne through Factory Records, approached her to sing on the Phonogram demos. These demos helped secure Connell and Jackson's major label contract. This was the period in which 52nd Street moved from Factory Records to Virgin Records and as a result, Diane Charlemagne's Swing Out Sister involvement ended.

Beginnings and debut album: It's Better to Travel (1985–1987)
Together with their producer, Paul Staveley O'Duffy, they signed with Mercury Records. Before their first album, they released the single "Blue Mood" in the UK in November 1985. However, it did not chart.

In late 1986, the single "Breakout" was released. It reached the number four position on the UK Singles Chart in November 1986, and number six on the Billboard Hot 100 chart in the United States, in November 1987.

When they released their debut album, It's Better to Travel, on 11 May 1987, it reached number one on the UK Albums Chart. The album blended real horns, synths (arranged subtly, to sound like strings), drums, and xylophones, scored by producer/arranger Richard Niles. The follow-up single to "Breakout" was "Surrender", which featured a trumpet solo performed by John Thirkell. It rose to number seven on the UK charts in January 1987. The next single was the more serious and jazzy "Twilight World". This song was the subject of many remixes and was a dance club favourite worldwide. The final single, "Fooled By a Smile", returned to the upbeat pop orientation characteristic of "Breakout".

The group were subsequently nominated for two Grammy Awards in 1988: Best New Artist and Best Pop Vocal Performance by a Group or Duo ("Breakout").

In addition to long-time partner O'Duffy as well as Thirkell, Swing Out Sister have also enlisted the talents of saxophonist Gary Barnacle (who with Thirkell comprise the Phantom Horns, known for their work with Level 42), percussionist Luis Jardim, guitarist Tim Cansfield, trumpet/fluegelhorn master Jerry Hey, and songwriter-arranger Jimmy Webb.

Kaleidoscope World (1989)
Original member Jackson left the group during the making of the second album, Kaleidoscope World. Although the liner notes give "special thanks to Martin Jackson" and his co-writing credits appear on the songs "Tainted" and "Between Strangers", they also point out that "Swing Out Sister are Corinne Drewery and Andy Connell." Drewery and Connell have been the core on all subsequent albums.

Kaleidoscope World was released in May 1989, achieving critical acclaim and UK Top 10 success. Their turn away from contemporary styles towards retro musical sources on this album would establish the musical path that they would continue to follow with their subsequent albums. The duo found inspiration in Easy Listening music, such as Burt Bacharach, as well as songwriter Jimmy Webb, who arranged two tracks, "Forever Blue" and "Precious Words". The incorporation of an orchestra in their recordings realised their sound in a richer, fuller way than their previous effort which relied more heavily on synthesisers. Consequently, this album featured arrangements and songwriting more classical in inclination. The lead-off single "You on My Mind" featured a more sophisticated blend of musical components (the video was strongly inspired by the 1968 cult film The Thomas Crown Affair) than their previous efforts while the upbeat tone of "Breakout" was echoed in the lead U.S. single "Waiting Game". Further singles included "Where in the World" and "Forever Blue", which featured a descending phrase that reminds some people of the John Barry theme for the film Midnight Cowboy.

Get in Touch with Yourself (1992)
Now a duo of Drewery and Connell, Swing Out Sister put out their third album, Get in Touch with Yourself, in June 1992. With strong dance rhythms reverberating throughout the entire album, tracks draw influences from 1960s and 1970s jazz, pop, soul, and funk. A breezy cover version of the 1968 Barbara Acklin soul hit "Am I the Same Girl?" became Swing Out Sister's last US hit, reaching No.1 on the adult contemporary chart. The album's title track, a blend of 1970s soul music and modern pop, gained the duo heavy airplay on smooth jazz radio and was a crossover hit, gaining airtime on adult contemporary stations as well. The musical influences of Stevie Wonder, The Jackson 5, Curtis Mayfield and others would become evident on this album but continue on through their later releases. In line with the album theme, Drewery also grew out her hair from her trademark bob which had become a visual signature for their early years.

The Living Return (1994)
Numerous changes were afoot by the time the fourth album, The Living Return, was released in September 1994. The replacement of producer Paul O'Duffy, after initial studio sessions with Ray Hayden, contributed to a looser, rawer feel to the songs that were often the results of studio jam sessions. Though Drewery and Connell still led Swing Out Sister, additional musicians, including former 52nd Street bassist Derick Johnson, Pa'lante percussionist Chris Manis, Jazz Defectors drummer Myke Wilson, and trumpet player John Thirkell, increased the group to ten members who replicated the live performances that had been captured on the Japan-only release Live at the Jazz Cafe. The album featured a cover of the Delfonics song "La-La (Means I Love You)", which was released as a single and was included on the soundtrack of the movie Four Weddings and a Funeral.

Shapes and Patterns (1997)
Few of the band's releases charted highly on the pop listings in Western countries after the successful debut album. The band, however, became extremely popular in Japan. Their song "Now You're Not Here" (from their fifth album Shapes And Patterns, one of several released in Japan before other parts of the world) was used as the theme to the Japanese TV programme "Mahiru No Tsuki", and it was ranked at No.10 on the Japanese chart and received a Japanese 'Grand Prix' (the equivalent of a Grammy Award) for best international single in 1997.

Shapes and Patterns was first released in Japan in March 1997, and then in Europe and USA the year after. Producer Paul O'Duffy, who co-wrote half of the songs, was back at the helm. As an orchestra was once again employed (led by Gavyn Wright), the lush arrangements characteristic of Kaleidoscope World resurfaced. The liner notes, written by composer/singer-songwriter Mary Edwards, point out the influences of Bacharach, Webb, and John Barry are perceptible in the string arrangements and Latin rhythms, as well as Minnie Riperton, Rotary Connection, and The 5th Dimension.

The album included a cover of Laura Nyro's "Stoned Soul Picnic" as well as the original version of "Better Make It Better", which appeared in a different mix on their previous album. A pervasive longing marks songs such as "Now You're Not Here", "Somewhere in the World" (their final US chart entry to date), "You Already Know", and "Icy Cold as Winter". This album would also mark the beginning of the duo's use of Japanese musicians in their studio sessions.

Filth and Dreams (1999)
Filth and Dreams, their sixth album, proved yet again that Swing Out Sister were eager to reinvent themselves. The album was released in Japan in March 1999, and it remains the only album not released in any other country. This album featured stronger jazz leanings than some of their early pop-oriented albums, and it is restrained in mood. The track "Who's Been Sleeping" was promoted as a single and released with several remixes. For this record, SOS adapted to the growing popularity of hip-hop in the late '90s. "Who's Been Sleeping" kicks off the record with an aggressive beat and a few hip-hop flourishes (such as Drewery's counting and uttering "Yeah ..." in the background.) The rest of the record incorporates such sounds a bit more subtly, through the soaring retro stylings of "Closer Than the Sun" and "When Morning Comes" to the excitable lounge of the title track to the mid-tempo trip-hop of "Invisible" and scratch-laced "Sugar Free."

Traditional SOS sounds are challenged successfully with the darkly dreamy "If I Had the Heart" and "Make You Stay." Background noises, from telephone conversations to child's play, also enrich the record and give the listener much more to cue in on. Drewery strays out of the usual love lyrics and colours a portrait of a darker world (as the title indicates) by singing about more urban subjects such as drugs (the eerie "Happy When You're High") and prostitution ("When Morning Comes").

Somewhere Deep in the Night (2001)
A seventh album, Somewhere Deep in the Night, was recorded in France, and it was released in May 2001 in Japan (with subsequent release in Europe and U.S.). It was dedicated to their friend Kazuhiko Yanagida. While it is quintessential Swing Out Sister, with lush, brassy, and stringy arrangements, the melodic tunes often feature melancholic, languid, or introspective atmospherics and are more sombre in tone. Many of the tracks are instrumental or only feature vocal harmonies without lyrics. One song even features a French spoken-word monologue. O'Duffy, who produced the album, also has co-writing credits on all the songs and provided backing vocals along with Connell and Cansfield.

Due to declining sales, their record label Universal dropped them from their contract in America. Consequently, they signed on with Shanachie Records.

Where Our Love Grows (2004)
Undeterred, the band bounced back with their eighth studio effort, Where Our Love Grows. It was released in Japan on 28 April 2004 with the UK edition following in July. GQ Magazine reviewed it and called it "indisputably their finest record to date". The album features a return to a rich, upbeat retro-sound that fuses jazz, soul, R&B, Latin, and easy listening music. Samples of Roger Nichols and The Small Circle of Friends and Herbie Mann were incorporated also into some songs.

Beautiful Mess (2008)
Late 2005 saw Swing Out Sister return to their studio in London to commence recording of their new album. The band planned on making a second tour of America in 2006, but due to recording commitments it had to be cancelled. In 2006, they composed incidental music for the ITV1 drama The Outsiders, which featured Nigel Harman. August 2007 saw a new single, "Secret Love", co-written by Morgan Fisher.

The new album from the band was entitled Beautiful Mess and was released by the Japanese record company Avex on 27 February 2008. The title is taken from one of the tracks on the album. Prior to its release in late December 2007, two other tracks were made available for download: "Butterfly" and "Something Every Day". The album was released in the UK in August 2008 and in the U.S. in May 2009, reaching the Top 5 on the Jazz Album chart in the US.

2008–2009 Asia tour
In 2008 and 2009, Swing Out Sister went back on tour and appeared at the Jakarta Convention Center, Indonesia, then toured several venues in Japan in Tokyo, Nagoya, Osaka, and Fukuoka, and then in the Philippines.

In 2009, the group played at Bimbos in San Francisco. The group had a new line up for the show and only one back up singer, Gina Foster. The show kicked off with "Surrender". They then performed "World Out of Control". They performed "Breakout" with a jazz leaning. With Foster's powerful voice adding to Corinne Drewery's, it compensated for the lack of additional vocal backers. Foster performed one of her own songs, "Expect a Miracle". They finished with "Stoned Soul Picnic".
 * Further activities in 2009

2012: 25th anniversary
2012 marked the 25th anniversary of the group's first album, It's Better to Travel. The album was reissued on 16 July 2012 as a double CD set including the original album plus B-sides, rarities and remixes. On 14 July 2012, Swing Out Sister performed in its "big band" form at Islington Assembly Hall. 500 limited edition 10" singles of "Love Won't Let You Down (Olympic Mix)" and "Breakout (Fabulous Party Mix)" were released to coincide with this landmark London show.

Tokyo Stories, a DVD from the group's 2010 performance at Billboard Japan, is a region 2 DVD and was released on 18 July 2012.

Private View + 2 CD was also released in July 2012. Originally, Private View was available only through the band's Facebook page. The "+2" version is updated and includes two new tracks. The CD features an acoustic take on some of the group's hits.

2014: A Moveable Feast
In March 2014, the group announced a project titled 'A Moveable Feast' to be released via Direct-to-Fan music platform PledgeMusic, saying: "We're making a thing, don't know what it is yet. Come along for the ride and we'll find out together."

In September 2015, Swing out Sister shipped their album, Rushes, to those who had signed up to the pledge; this included short samples of the songs that Swing Out Sister were writing for the 'Moveable Feast' project. The content was also available as downloadable MP3 tracks to those who donated money to support the development of the album.

2017: Almost Persuaded
In November 2017, they released the culmination of the project, Almost Persuaded. The album was scheduled for general release in June 2018.

On 13 November 2018, Swing Out Sister performed at Islington Assembly Hall in support of the album. Also in 2018, they were booked to play at the Blue Note Jazz Club in Milano. The line up consisted of Corinne Drewery on vocals, Andy Connell on keyboards, Gina Foster on vocals, Tim Cansfield on guitar, Myke Wilson on drums, Juneroy on bass and Jody Linscott on percussion.

Studio albums

 * It's Better to Travel (1987)
 * Kaleidoscope World (1989)
 * Get in Touch with Yourself (1992)
 * The Living Return (1994)
 * Shapes and Patterns (1997)
 * Filth and Dreams (1999)
 * Somewhere Deep in the Night (2001)
 * Where Our Love Grows (2004)
 * Beautiful Mess (2008)
 * Private View (2012)
 * Almost Persuaded (2017)

title: Swing Out Sister


text:
Tamango

Tamango is a 1958 French/Italian film directed by John Berry, a blacklisted American director who exiled himself to Europe. The film stars Dorothy Dandridge, Curd Jürgens, Alex Cressan and Jean Servais.

Based on a short story written by Prosper Mérimée that was first published in 1829, the film concerns a slave ship on its crossing from Africa to Cuba, the various people that it carries and the slaves' rebellion while on board.

Plot
Captain Reiker, a Dutch sea captain, embarks on what he intends to be his last slave-ship voyage. After capturing slaves with the complicity of an African chief, Reiker starts his voyage for Cuba. Along with the slaves below deck, the passengers include his mistress, the slave Aiché, and the ship's doctor, Corot. Tamango, one of the captured men, plans a revolt and tries to persuade Aiché to join him and the other slaves. When the captured slaves rebel, Tamango holds Aiché hostage. A deadlock between the two sides develops and Captain Reiker states that he will fire a cannon into the ship's hold and kill all the slaves unless they surrender. Aiché is given a chance to leave by Tamango, but after looking up the ladder that leads out of the hold, she chooses to stay with her fellow slaves. The captain fulfills his threat and shoots the cannon into the hold.

Controversy
The film was controversial in different parts of the world. Although the project was filmed in the French city of Nice, France banned Tamango in its West African colonies "for fear it would cause dissent among the natives." The film was released in 1959 in New York City but did not receive nationwide distribution until 1962, as it ran afoul of the Hays Code restriction on scenes depicting miscegenation.

Cast

 * Dorothy Dandridge as Aiché, Reiker's mistress
 * Curd Jürgens as Captain John Reiker
 * Jean Servais as Doctor Corot
 * Alex Cressan as Tamango
 * Roger Hanin as 1st Mate Bebe
 * Guy Mairesse as Werner
 * Clément Harari as Cook
 * Doudou Babet as Chadi
 * Habib Benglia as Le chef noir
 * Pierre Rosso as the diving sailor

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

title: Tamango


text:
Youth (Collective Soul album)

Youth is the sixth studio album by Collective Soul, released in November 2004. The album was the band's first on their own label, EL Music Group, after leaving Atlantic Records following the release of their greatest hits album, Seven Year Itch. The album contains a more balanced pop-rock sound than their previous albums Dosage and Blender.

Background
After 2000's Blender both Ed and Dean Roland went through divorces. The band attempted to work through these circumstances and, according to Dean, at one point had enough material for two albums. However said material was darker and the band wanted the songs to have "a more positive, 'light at the end of the tunnel'-type vibe". The band eventually scrapped the material and completely started over.

Track listing
All tracks written by Ed Roland, except where noted.

Personnel

 * Ed Roland – lead vocals, rhythm guitar, keyboards
 * Dean Roland – rhythm guitar
 * Will Turpin – bass guitar, backup vocals
 * Joel Kosche – lead guitar, backing vocals
 * Shane Evans – drums, percussion

title: Youth (Collective Soul album)


text:
Talk:Raúl Castro

Raul's role in the Moncada Barracks Operation
Here is an interesting article from Granma which includes a facimile from the Oriente newspaper July 30, 1953, reporting RC's capture: http://www.granma.cu/ingles/2006/agosto/vier4/33raulmon-i.html

I believe he also played an important role in Operation Carlota - the Cuban defeat of the South African invasion of Angola in 1976. I'll post a source when I find it.

And Ramses II defeated the Hittites sure!! El Jigue 8-27-06

Vive Raúl!
Report states that using odd grammar crowd cheers Raul. Apparently this cheer might be interpreted to indicate that some question if Raul has or has not joined the living dead "His speech, which closed the union's 19th congress in Havana, earned him a standing ovation from the crowd of about 1,400 people, which chanted ``Vive Raúl!''" El Jigue 9-29-06

Semi-protected edit request on 20 July 2022
Add pp-blp 219.78.190.227 (talk) 06:49, 20 July 2022 (UTC)

✅ Of the universe (talk) 15:16, 20 July 2022 (UTC)

Semi-protected edit request on 5 December 2023
Juanita Castro and Raul Castro are not half siblings. They are full siblings as they shared the same mother and father. This needs to be corrected. 66.103.10.193 (talk) 17:03, 5 December 2023 (UTC)
 * ✅ Hyphenation Expert (talk) 20:34, 5 December 2023 (UTC)

1931
He born in 1931 or in other year? Dynoblex (talk) 01:07, 16 March 2024 (UTC)

title: Talk:Raúl Castro


text:
Island in the Sun (film)

Island in the Sun is a 1957 drama film produced by Darryl F. Zanuck and directed by Robert Rossen. It features an ensemble cast including James Mason, Harry Belafonte, Joan Fontaine, Joan Collins, Dorothy Dandridge, Michael Rennie, Stephen Boyd, Patricia Owens, John Justin, Diana Wynyard, John Williams, and Basil Sydney. The film is about race relations and interracial romance set in the fictitious island of Santa Marta. Barbados and Grenada were selected as the sites for the movie based on the 1955 novel by Alec Waugh. The film was controversial at the time of its release for its on-screen portrayal of interracial romance.

Plot
During one spring in the 1950s the complex relationships of four couples, of black, white and mixed race, play out against the pronounced social inequality dividing the ruling British elite and the slave-descended native population of a small (fictitious) West Indian island.

Maxwell Fleury (James Mason) is a white plantation owner's son who suffers from an inferiority complex and makes rash decisions to prove his worth. He is tormented by the jealousy of his wife Sylvia (Patricia Owens), and is envious of his younger sister Jocelyn (Joan Collins), who is being courted by the handsome, young, Oxford-bound Euan Templeton (Stephen Boyd), newly arrived on Santa Marta to visit his father, Lord Templeton (Ronald Squire), the island's governor.

David Boyeur (Harry Belafonte), an ambitious and self-advancing young black union leader emerging as a powerful politician, is diplomatically courted by Templeton yet seen by some as a threat to the white ruling class. Mavis Norman (Joan Fontaine), the widow of the deceased elder scion of the Fleury plantation, Arthur, develops a romantic interest in David that leads to both attraction and tension between the two.

Denis Archer (John Justin), the governor's aide-de-camp and want-to-be novelist, becomes smitten by Margot Seaton (Dorothy Dandridge), a mixed-race beauty seeking to better her position in life through hard work over irrepressible feminine charm. He wins her away from David and gets her a job as a secretary in the governor's office.

Insecure in his marriage, Maxwell magnifies a case of mistaken identity into the obsession that his wife is having an affair with Hilary Carson (Michael Rennie), an attractive and single former war hero. He strangles Carson during a quarrel, then tries to make it look like a robbery. Colonel Whittingham (John Williams), the cagey chief of police, investigates the crime as a murder. Soon, he begins dropping telling hints to Maxwell drawn from Dostoevsky's "Crime and Punishment".

Euan falls heavily for Jocelyn, who puts off his proposal of marriage, to be sure "everything is right".

Maxwell decides to run for the legislature. A visiting American journalist, Bradshaw (Hartley Power), writes an exposé revealing that Maxwell's paternal grandmother was part black, which is resignedly confirmed by the senior Fleury. At a campaign rally Maxwell first publicly embraces his newfound bi-racial identity, but is jeered by a black crowd egged on by David, which rejects his embrace. Humiliated, he then denounces his black heritage and insults everyone there.

Jocelyn learns she is pregnant by Euan, but, with a title and seat in the House of Lords lying ahead for him, does not wish to burden him with a child of mixed race. Seeking to eliminate this roadblock to marriage and her daughter's happiness, her mother reveals to her that Julian Fleury was not her father but a fully white Englishman instead, the result of secreted affair.

Maxwell realizes he has been cornered by Whittingham. A broken man, he attempts to muster the will for suicide, but fails. Resolved to his fate, he arranges to surrender to the police.

Jocelyn and Euan wed, then board a plane to England, followed up the gangway by the also newly married Margot and Denis, on to their own new life together there.

Mavis presses her campaign to become serious with David but he rejects her advances, maintaining he must stay within his own race to be accepted by his people. Ruefully, she accepts his rebuff, and, hurt by his jilt, leaves him behind at their rendezvous at the beach. David is left to walk back alone to town in the dying light approaching dusk.

Cast

 * James Mason as Maxwell Fleury, a hot-tempered but insecure scion of the elite Fleury family.
 * Harry Belafonte as David Boyeur, a black politician leading the lower class, who is attracted to Mavis Norman.
 * Joan Fontaine as Mavis Norman, an elite white woman who lacks direction in her life, and is drawn towards the magnetism of David Boyeur.
 * Joan Collins as Jocelyn Fleury, the alluring sister of Maxwell, who falls in love with Euan Templeton.
 * Dorothy Dandridge as Margot Seaton, a beautiful West Indian, who is pursued by Denis Archer, the governor's aide-de-camp.
 * Michael Rennie as Hilary Carson, a retired war hero, whom Maxwell fears is having an affair with his wife, Sylvia.
 * Patricia Owens as Sylvia Fleury, the wife of Maxwell, who Maxwell fears is having an affair with Hilary Carson.
 * John Justin as Denis Archer, the governor's aide and want-to-be novelist drawn to Margot Seaton.
 * Stephen Boyd as Euan, Lord Templeton, the governor's visiting son, who falls in love with Jocelyn Fleury.
 * Diana Wynyard as Mrs. Fleury, wife of Julian and mother of Maxwell and Jocelyn, by all appearances a staid matriarch and pillar of the community.
 * Basil Sydney as Julian Fleury, the husband of Mrs. Fleury and father of Maxwell and Jocelyn, patriarch of the Fleury plantation.
 * John Williams as Colonel Whittingham, the head of police, who investigates Hilary Carson's murder.
 * Ronald Squire as Lord Templeton, the governor of the island, and Euan's father.
 * Hartley Power as Bradshaw, an American journalist visiting Santa Marta.

Original novel
The novel was published in January 1956. The New York Times called it an "absorbing good reading and a considerable achievement in its own right." The Los Angeles Times called it "strong, suspenseful." The book sold over 900,000 copies.

Development
Darryl F. Zanuck purchased screen rights to the novel for 20th Century Fox in May 1955, prior to publication. However by that stage it had already been accepted for serialization and was the Literary Guild and Reader's Digest Guild choice. Waugh received $140,000 for the rights.

Zanuck said he was attracted to the novel because it contained multiple stories. "I like multiple stories," he said. "Either a story should concentrate on two people or it should for me at least have a number of people dramatically integrated. I don't mean the Grand Hotel type of story but people whose lives and emotions - the drama of the story - are knit together."

He went on to say that there were fourteen major parts, "and six of them it would be difficult to say who was the most important." He also liked the fact the book had "a novel and attractive background" which would suit filming in color and CinemaScope, and that the novel tackled miscegenation.

"Our picture is highly controversial, but then I've made controversial pictures before," said Zanuck, who had made Grapes of Wrath, Gentleman's Agreement and Pinky. "I don't know whether I'll ever be able to show the film in the south and it may be objected to in other areas but I am taking my chances because I believe this great story... If a picture has real significance and genuine theme and purpose, my contention is that it can be made no matter how controversial."

He also said "it is not basically a picture about the color problem but it would not be possible to make a film about the West Indies without dealing with the color question. It is the essence of the life of the place."

In July 1955 Alfred Hayes was signed to write the script.

Zanuck eventually left Fox to return to producing. As part of his agreement with Fox, he took the rights to Island in the Sun. It was going to be the second of three films he was going to produce, the first being The Sun Also Rises and the third The Secret Crimes of Josef Stalin. In the end Island would be made before Sun Also Rises and the Stalin project was never filmed.

In July 1956 Robert Rossen was hired to direct. Zanuck said Rossen's "reputation was largely made on offbeat, unorthodox subjects—which this is—and I had confidence, which for a producer is absolutely essential, that he was the man."

Casting
This was Dorothy Dandridge's "comeback" movie, as she hadn't made a film since 1954's Carmen Jones, in which she played the lead. In 1955, she had been offered supporting roles in The King and I and The Lieutenant Wore Skirts but Otto Preminger, Carmen Jones'  director and her lover, advised her to turn down the roles. Dandridge was billed third, in an ensemble cast of stars.

Many of the lead actors were under contract to Fox, including Joan Collins, Michael Rennie, John Justin and Stephen Boyd.

Zanuck said in October 1956 "Ridding myself of the obligation of conducting a large film establishment like 20th Century Fox hasn't meant any cessation of work. I have seldom done as much travelling as I expect to do in the next few weeks and that's because we are really trying to make this picture really come alive as a big tropical island exploit."

Filming
Filming started 15 October in the West Indies. The film was shot on location in Barbados and Grenada then in late November the unit shifted to London for studio work. The budget was $3 million.

Reception
As a result of playing interracial love scenes with Harry Belafonte, Joan Fontaine received poison pen mail, including some purported threats from the Ku Klux Klan. Fontaine turned the letters over to the FBI.

The film received mixed reviews and its interracial themes meant it found initial difficulty in being booked in theaters in the Southern United States. The film also received protests prior to its opening in the North in St Paul-Minneapolis. It was banned in Memphis, Tennessee as “too frank a depiction of miscegenation, offensive to moral standards, and no good for either white or Negro.” Zanuck had previously said he would pay the fines of any theatre owners fined for showing the film.

Box office
Premiering in June 1957, Island in the Sun was a major box office success, opening at number one in the country with a first week gross of almost $500,000 in the 16 cities that Variety reported. The film earned $5,550,000 worldwide, representing roughly a 100% profit over its cost of production, and finished as the sixth highest-grossing film of 1957.

It was the 8th most popular movie in Britain of that year.

Legacy

A proposal was floated in 2009 to demolish the remains of the mansion used in the film, at Farley Hill, Barbados, for the Maxwell Fleury estate Bel Fontaine. It was gutted by fire in the mid-1960s, and all that remains are the foundations and exterior walls.

Music
The title song "Island in the Sun" was written by Harry Belafonte and Irving Burgie. There are now over 40 cover versions recorded by various artist such as The Merrymen, José Carreras, Caterina Valente in German, Henri Salvador in French ("Une île au soleil") and The Righteous Brothers, just to name a few. It briefly was featured (and parodied) in the 1992 film The Muppet Christmas Carol.

title: Island in the Sun (film)


text:
Talk:Ludewa District

Afd in 2004
This article was proposed for deletion December 2004. The archived discussion is available at Votes for deletion/Ludewa.

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Ludewa District. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20120823174437/http://www.dailynews.co.tz/index.php/local-news/2739-state-gazettes-new-regions-districts to http://www.dailynews.co.tz/index.php/local-news/2739-state-gazettes-new-regions-districts

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 10:37, 27 May 2017 (UTC)

title: Talk:Ludewa District


text:
Chips Moman

Lincoln Wayne "Chips" Moman (June 12, 1937 – June 13, 2016) was an American record producer, guitarist, and songwriter. He is known for working in R&B, pop music and country music, operating American Sound Studios and producing hit albums like Elvis Presley's 1969 From Elvis in Memphis and the 1985 debut album for The Highwaymen. Moman won a Grammy Award for co-writing "(Hey Won't You Play) Another Somebody Done Somebody Wrong Song", a 1975 hit for B.J. Thomas.

Early years
Moman was born in LaGrange, Georgia. After moving to Memphis, Tennessee, as a teenager, he played in the road band of Warren Smith, before moving to Los Angeles around 1957 with Johnny Burnette's band and then touring with Gene Vincent. While in Los Angeles, he played guitar on sessions recorded at the Gold Star Studios.

1960s
Returning to Memphis, he began an association with Satellite Records (later Stax Records), helping find the disused movie theater on McLemore Avenue that became the Stax headquarters. He worked as the company's recording engineer and produced their first hit single, Carla Thomas's 1960 "Gee Whiz (Look at His Eyes)". He also produced the first single for the Stax subsidiary label Volt, "Burnt Biscuits" b/w "Raw Dough," by the Triumphs, whose members included future soul star Al Green and drummer Howard Grimes. Leaving Stax in 1964 after a monetary dispute with label founder Jim Stewart, he began operating his own Memphis recording studio, American Sound Studio.

At American Sound, he, along with guitarists Reggie Young and Bobby Womack, bassists Tommy Cogbill and Mike Leech, pianists and organists Bobby Woods and Bobby Emmons, and drummer Gene Chrisman, recorded the Box Tops ("Soul Deep"), Bobby Womack, Merrilee Rush, Mark Lindsay (Paul Revere and the Raiders), Sandy Posey (notably "Born a Woman" and "Single Girl"), Joe Tex, Wilson Pickett, Herbie Mann, Roy Hamilton, and Petula Clark. During this period Moman established a songwriting partnership with fellow Memphis producer and songwriter Dan Penn. The pair co-wrote "Do Right Woman, Do Right Man", recorded by Aretha Franklin, and "The Dark End of the Street", which became the best-known song of the soul singer James Carr. Moman also played guitar on Franklin's recording sessions at the FAME Studios in Muscle Shoals.

In the 1960s, Moman worked for Stax Records before founding the American Sound Studio in Memphis, Tennessee, and later worked extensively in Nashville. As a record producer, Moman was known for recording Elvis Presley, Tammy Wynette, Bobby Womack, Carla Thomas, and Merrilee Rush, as well as guiding the career of the Box Tops. As a songwriter, he was responsible for standards associated with Aretha Franklin, James Carr, Waylon Jennings, and B. J. Thomas, including the Grammy-winning "(Hey Won't You Play) Another Somebody Done Somebody Wrong Song". He was also a session guitarist for Franklin and other musicians.

1970s
During the late 1960s and early 1970s, American Sound became one of the most successful recording studios in the country, producing more than 120 charting singles by pop, soul, and country artists and at one point contributing over a quarter of the hits on the Billboard Hot 100. Moman produced Elvis Presley's 1969 album, From Elvis in Memphis – described as "arguably [Presley's] best album". The album included hit songs "In the Ghetto", "Suspicious Minds", and "Kentucky Rain". During this time, Moman had a record label American Group Records (AGP), distributed by Amy-Mala-Bell.

Moman left Memphis in 1971 and briefly operated a studio in Atlanta. He moved to Nashville, where he married fellow songwriter Toni Wine, and where he produced and (with fellow producer Larry Butler) co-wrote a hit for B. J. Thomas, "(Hey Won't You Play) Another Somebody Done Somebody Wrong Song" (1975). This effort earned Moman a Grammy Award. He also co-wrote "Luckenbach, Texas (Back to the Basics of Love)" for Waylon Jennings, and produced albums by Willie Nelson, Gary Stewart, Tammy Wynette, Ronnie Milsap, and Petula Clark.

Later years
After a brief return to Memphis in the mid-1980s, during which time his attempt to open a new studio floundered, he settled in LaGrange, Georgia, where he operated another recording studio.

Moman recorded the first demo cut on the song "Always on My Mind". Mark James was working for him as a session musician and Wayne Carson was in the studio recording songs, Carson asking the co-writers to add a bridge to the song that Moman insisted it needed. The musicians felt the song was complete, but Moman refused to record it unless they came up with a bridge on the studio's old piano. The two-line bridge was then added. The song was passed to Elvis via a bodyguard and, consequently, it was not recorded by the studio despite originating in it. However, Moman produced Willie Nelson's version years later. Moman also produced Highwayman, the first studio album released by country supergroup The Highwaymen, comprising Kris Kristofferson, Johnny Cash, Waylon Jennings, and Willie Nelson. Highwayman, released through Columbia Records in 1985, was the group's first and most successful album.

Death
Moman died on 13 June 2016, the day after his 79th birthday, at a hospice in LaGrange, Georgia. He had been suffering from a lung disease and died of emphysema.

title: Chips Moman


text:
A46

A46 may refer to:

Roads:
 * A46 road, a long distance A road between Bath and Cleethorpes, in England
 * Bundesautobahn 46, a motorway in North Rhine-Westphalia, Germany
 * A46 autoroute, a motorway in France

Other:
 * Aero A.46, a Czechoslovakian military prototype biplane

title: A46


text:
On-screen display

An on-screen display (OSD) is an image superimposed on a screen picture, commonly used by modern television sets, VCRs, and DVD players to display information such as volume, channel, and time.

History
In the past, most adjustments on TV sets were performed with analog controls such as potentiometers and switches. This was used more recently also in monochrome portable TVs. After remote controls were invented, digital adjustments became common. They needed an external display, which was LED, LCD, or VFD based. Including this display increased manufacturing costs.

When electronics became more advanced, it became clear that adding some extra devices for an OSD was cheaper than adding a second display device. TV screens had become much bigger and could display much more information than a small second display. OSDs display graphical information superimposed over the picture, which is done by synchronizing the reading from OSD video memory with the TV signal.

Some of the first OSD-equipped televisions were introduced by RCA in the late 1970s, simply displaying the channel number and the time of day at the bottom of the screen. An OSD chip was added to the General instruments (GI) varactor tuning chip set designed in conjunction with RCA and Telefunken. The original OSD was merely to placate users who were faced with a snowy screen during auto tuning. Something the original architecture had not seen as an issue until it was first demonstrated. Once a display had been injected, at least in 1981, a real-time clock (RTC) was added to display time and date on video terminals (with greater performance in 1996).

In the 1980s, OSD-capable TVs started to be more common, such as Zenith's "System 3" series. Akai have been credited with the introduction of OSD in VCRs in the 1980s, including the introduction of on screen programming. By the mid-1990s, VCRs with these displays became widely available. This made it possible to reduce the size (and cost) of the VFD or LCD in the VCR. Eventually, as VCRs declined in popularity and prices fell, many manufacturers dropped the internal display completely, relying completely on the on-screen display. All DVD players also use on-screen displays. Many PAL television sets use the internal Teletext decoder's graphics rendering system to further reduce costs.

More recently (as of about 2005), the decline in CRT-based TV sets and rise in LCD/plasma televisions has seen the use and availability of dedicated OSD devices decline, as it is more cost effective to integrate OSD functions inside the main graphics processor. Modern LCD television monitors usually incorporate only two or three integrated circuits. Examples of integrated circuits to perform dedicated OSD are MAX7456 and STV5730. Both operate with NTSC or PAL, mixing with an existing signal or self-generating. Both have slightly different capabilities. This can be done by PIC video superimposer too.

First VCR with on-screen display
Akai produced consumer video cassette recorders (VCR) during the 1980s. The Akai VS-2 was the first VCR with an on-screen display, originally named the Interactive Monitor System. By displaying the information directly on the television screen, this innovation eliminated the need for the user to be physically near the VCR to program recording, read the tape counter, or perform other common features. Within a few years, all competing manufacturers had adopted on-screen display technology in their own products.

Computers
Some computer software also uses OSDs, especially support programs for so-called "enhanced keyboards", which often had additional medias like skipping through music tracks and volume adjustment. Their use outside this field is still uncommon. On-screen displays are also used in camcorders, and can display various information both on the viewfinder and on the TV set the camcorder is connected to.

The complexity of graphics offered by such displays has greatly increased over the years, from simple monochrome images to intricate graphical user interfaces.

Known problems
Several problems exist with regard to on-screen displays. One of them is diagnostics if a television's display system is damaged. Without any external screens, it is almost impossible (without opening the TV) to determine the source of the error. TV accessories that depend heavily on OSDs, such as VCRs or DVD players, are also difficult to configure without the use of a TV. On older VCRs, it was possible to program recording timers without turning on the TV; a modern VCR requires the user to turn on the TV to do so. Usability is generally also decreased with OSDs, as it is necessary to control a multitude of parameters with a few buttons, where earlier, real analog controls with mechanical feedback were available.

The drawbacks of using OSDs do not outweigh their main advantage of being more cost-efficient and allowing to design less separate physical tuning controls, which has led to their widespread use.

title: On-screen display


text:
A511 road

The A511 road is a 21 mi stretch of mainly single-carriageway road which runs northwest from Markfield in Leicestershire, England to Foston in South Derbyshire.

It links the towns of Coalville, Ashby-de-la-Zouch and Burton upon Trent. It has a junction with the dual-carriageway A42 at Ashby, and with the non-trunk A514 road east of Swadlincote. The A511 passes under the dual-carriageway A38 at Burton, but has no direct junction with that major route.

The A511 was originally part of the A50 route, which it becomes from its M1 junction east to Leicester, but it was redesignated when the dual-carriageway Derby bypass section of the A50 was built from junction 24a of the M1 west to the current A50/A511 junction.

An earlier A511 was the route from Atherstone, Warwickshire to Burton upon Trent, Staffordshire via Twycross and Appleby Magna in Leicestershire and Netherseal in Derbyshire. The stretch from Atherstone to Twycross became part of the B4116 when the rest of the route was renumbered A444 along with the Nuneaton to Twycross route which was originally the B584.

title: A511 road


text:
User:Thincat

I have eventually come to the conclusion that I should say that my name is Roger Stansfîeld, though why anyone should want to know that is still obscure to me. An opinion piece in the Guardian discusses the matter and suggests that perhaps giving my name will make my editing more responsible. Well, well.

There are quite a few people in the world with the same name as myself so, to avoid my editing bringing any of them into disrepute, I'll say a bit about myself. I am English, born just after World War II, and I have lived in northeast Scotland since 1980. I am retired from a career in IT (it was called Computing when I started). I am no longer thin and I have never owned a cat.

I have used one account (unified over projects) for editing and a second one, User:Thincat (alt), solely for technical testing. I have not used a customised signature. I edited as an IP in early 2004 and, since then, very occasionally by mistake. I've never been paid to edit Wikipedia and no one has ever offered to pay me. Nor, so far as I can recall, have I ever edited on a topic in which I have a financial interest. However, I was employed by BP between 1966 and 1970 and I see I edited their article ten times between 2005 and 2010.[//tools.wmflabs.org/sigma/usersearch.py?name=Thincat&page=BP&server=enwiki&max=100] ThinCats is a UK business loan firm founded in 2011 – there is absolutely no connection at all between us.

Substantial contributions
The dates are of my first contribution to articles created by other people.
 * 2004-11-05: Bayeux Tapestry
 * 2013-06-17: Dog and Duck, St George's Fields (tavern in 17th & 18th-century London) DYK
 * 2013-04-01: North British, Arbroath and Montrose Railway (opened 1881) DYK
 * 2013-07-01: Edward Peel (big-game fisherman) (1884–1961)
 * 2013-04-06: Race to the North (late 19th-century railway races in Britain)

title: User:Thincat


text:
Air-to-air

Air-to-air can refer to:

 * Air-to-air combat
 * Air-to-air missile
 * Air-to-air photography
 * Air-to-air refueling
 * Air-to-air rocket
 * Air-to-air refrigeration

title: Air-to-air


text:
Kaufman Footwear

Kaufman Footwear was a Kitchener, Ontario-based shoe company. It was known for its Sorel brand.

History
The Kaufman Rubber Company was founded by Jacob Kaufman and his son Alvin Ratz Kaufman in 1908, in Berlin, Ontario - what is now Kitchener, Ontario. It became Kaufman Footwear in 1964.

A.R. Kaufman took over as president of the company in 1920, a position he held until 1964, when his son, William H. Kaufman, assumed the role. A. R. Kaufman was a leading Canadian eugenicist who encouraged sterilization of his workers. When Kaufman Rubber laid off workers during the Great Depression, Kaufman's proposed solution to their financial woes was sterilization. Kaufman would later take credit for over 1000 male sterilizations performed at Kaufman factories between 1930 and 1969.

Kaufman Rubber Co. brands included Foamtread slippers, introduced in 1953; Showertogs, an early use of PVC as a clothing material, in 1954; and its Sorel line of winter boots, which was later developed as a utility and fashion winter footwear brand.

In 1961 Kaufman purchased L.H. Packard & Co. of Montreal, followed by Prospect Shoes Ltd. of Sherbrooke in 1966. Footwear production for the company became centred in Quebec. Kaufman also manufactured under the brand names "Oomphies" (women's casual and duty shoes), "Snowbelles" (slush-molded vinyl boots), "Feelings" (women's casual sandals), "The Real Thing" (women's footbed sandals), "Kingtreads" (safety footwear) and "Black Diamond" (industrial footwear and clothing).

Kaufman Footwear declared bankruptcy in 2000 and the Sorel trademark was bought by Columbia Sportswear.

title: Kaufman Footwear


text:
Burn-in

Burn-in is the process by which components of a system are exercised before being placed in service (and often, before the system being completely assembled from those components). This testing process will force certain failures to occur under supervised conditions so an understanding of load capacity of the product can be established.

The intention is to detect those particular components that would fail as a result of the initial, high-failure rate portion of the bathtub curve of component reliability. If the burn-in period is made sufficiently long (and, perhaps, artificially stressful), the system can then be trusted to be mostly free of further early failures once the burn-in process is complete.

Theoretically, any weak components would fail during the "Burn In" time allowing those parts to be replaced. Replacing the weak components would prevent premature failure, infant mortality failure, or other latent defects.

When the equivalent lifetime of the stress is extended into the increasing part of the bathtub-like failure-rate curve, the effect of the burn-in is a reduction of product lifetime. In a mature production it is not easy to determine whether there is a decreasing failure rate. To determine the failure time distribution for a very low percentage of the production, one would have to destroy a very large number of devices. By stressing all devices for a certain burn-in time the devices with the highest failure rate fail first and can be taken out of the cohort. Thus by applying a burn-in, early in-use system failures can be avoided at the expense (tradeoff) of a reduced yield caused by the burn-in process.

When possible, it is better to eliminate the root cause of early failures than doing a burn-in. Because of this, a process that initially uses burn-in may eventually phase it out as the various root causes for failures are identified and eliminated.

For electronic components, burn-in is frequently conducted at elevated temperature and perhaps elevated voltage. This process may also be called heat soaking. The components may be under continuous test or simply tested at the end of the burn-in period.

There is another use of the term by some audiophiles, who leave new audio equipment turned on for multiple days or weeks, to get the components to achieve optimal performance. However, many debates have arisen about the benefits of this practice.

title: Burn-in


text: Wikipedia:Picture of the day/December 21, 2004


text:
Talk:Feast of the Cross

Comments
This article is a renaming of Holy Cross Day, with material incorporated from Invention of the Cross and True Cross. What with different liturgical celebrations and feasts floating around, User:TOttenville8 and I thought it would be good to consolidate everything here. JHCC 15:42, 21 Dec 2004 (UTC)

Regarding the intro, I changed back to "known as" instead of "classified as" since not all churches have the same system of classification. In Orthodox usage, with which I am most familiar, the essential distinction is between the Twelve Great Feasts and the other lesser feasts. Perhaps there is a way to incorporate the classification into the body of the article? JHCC 15:05, 27 Dec 2004 (UTC)

This feast is known by the majority of Christians as the Triumph of the Cross. I would propose we move it to that name.Vaquero100 06:55, 3 July 2006 (UTC)

Re: "Triumph of the Cross." The article says it is officially known as "Triumph" by the Latin Church. I am no expert on these matters, but the calendar I am looking at from the U.S. Conference of Catholic Bishops (see: http://www.usccb.org/nab/091406.shtml) identifies it using the word "Exaltation." Further discussion/insight would be appreciated.

I removed the link to http://christocracy.org History of Origin. The page it points to says the domain is for sale, and it no longer has any info about the feast of the Cross. MishaPan 23:19, 17 March 2007 (UTC)

Significant minority of Traditional Roman Catholics
As I already indicated in the article, the feast day of the Finding of the Holy Cross is still commemorated exactly as was in the past by a significant minority of Traditional Roman Catholic parishes. It is very important to make mention of these Traditional Roman Catholics (who make use of missals dated before 1955) (see the General Roman Calendar as in 1954) as they make up a growing and increasingly vocal minority within the overall group of Traditionalist Catholics. To characterize them as solely sedevacantists serves only to marginalize this very active and dynamic portion of Traditional Roman Catholics. I would not be surprised to hear that should some major cataclysm befall the world, that Traditional Roman Catholics are the ones still left standing. ProudPapa5 (talk) 16:54, 3 May 2008 (UTC)

Sept 13 Assyrian Church of the East
I notice the link at Assyrian Church of the East takes us to the article "Church of the East". That article itself contains a link to "Assyrian Church of the East" which has its own entry. Is there a reason for this roundabout linkage, or can the link here be changed to go directly to the Assyrian Church of the East"? --Richardson mcphillips (talk) 17:28, 13 September 2015 (UTC)
 * ✅ Mannanan51 (talk) 13:40, 15 September 2015 (UTC)

this article needs more references
The following sections have no or very few references: Please do not remove the maintenance tag until these have been addressed. Thank you. — howcheng  {chat} 16:04, 12 September 2017 (UTC)
 * Syriac Church of the East (none)
 * Armenian Apostolic Church (none)
 * Ethiopian Orthodox Tewahedo Church (none)
 * Malankara Syrian Orthodox Church (none)
 * Russian Orthodox Church (only one)
 * August 1 (only one)
 * Wednesday and Friday (none)
 * Veneration of the Cross (none)

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on Feast of the Cross. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20110726153144/http://www.holytrinitymission.org/books/english/liturgics_averky_e.htm to http://www.holytrinitymission.org/books/english/liturgics_averky_e.htm
 * Corrected formatting/usage for http://www.westsrbdio.org/prolog/my.html?month=August&day=1

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 02:11, 29 September 2017 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Feast of the Cross. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20070722100456/http://en.liturgy.ru/photo/f17.htm to http://en.liturgy.ru/photo/f17.htm

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 22:01, 25 December 2017 (UTC)

title: Talk:Feast of the Cross


text:
Fullerton Municipal Airport

Fullerton Municipal Airport, owned and operated by the City of Fullerton, is a regional relief airport in Orange County, California.

The airport is in the southwestern corner of Fullerton on Commonwealth Avenue, northeast of the junction of the Santa Ana (I-5) and Riverside (SR 91) Freeways. The airport and its industrial park are surrounded by residential areas. It is popular among private pilots traveling within the state of California, but there are occasional flights to and from Nevada, Arizona and Utah.

History
Fullerton Municipal Airport can trace its origins to 1913 when barnstormers and crop dusters used the former pig farm as a makeshift landing strip. The site later became home to a sewer farm.

The airport's "official" birthday is 1927. William and Robert Dowling, with the aid of H. A. Krause and the Fullerton Chamber of Commerce, had petitioned the council for permission to turn the by then-abandoned sewer farm into a landing field. The Fullerton City Council approved Ordinance 514 in January 1927, formally establishing the airport. The council leased the land to the chamber for five years, at a fee of $1 per year, and the chamber, in turn, subleased operations to William Dowling and friend Willard Morris of Yorba Linda. The city would assume direct control of the facility in January 1941.

A portion of the Howard Hughes feature Hell's Angels was filmed at Fullerton in 1929. Hughes would feature later in Fullerton's history by buying a tract of land for Hughes Aircraft. The campus eventually became home to Hughes Aircraft Ground Systems Group, closing in 2000.

In 1949 Dick Riedel and Midway City's Bill Barris of Fullerton Air Service, sponsored by the Fullerton Chamber of Commerce, set a world flight endurance record from the airport, keeping their modified Aeronca Sedan, the Sunkist Lady aloft for 1,008 hours and 2 minutes.

The control tower, built with Federal Aviation Administration funds in 1959, was the first in Orange County.

The California Highway Patrol, Anaheim Police Department, Orange County Fire Authority, and Mercy Air maintain helicopters on the airfield.

The airport also had scheduled passenger air service provided by Golden West Airlines during the 1970s to Los Angeles International Airport (LAX) which was flown with de Havilland Canada DHC-6 Twin Otter turboprop aircraft.

After two crashes in eight days in 1992, Fullerton Airport faced calls for it to be closed, by the then-mayor of Buena Park, Rhonda McCune. Due to the airport's location near the border of Fullerton and Buena Park, Mayor McCune alleged that "Fullerton gets all of the economic benefits from the airport while we get the accidents."

Facilities
Fullerton Municipal Airport covers 86 acre and has one runway and one heliport:

 * 6/24: 3,121 × 75 ft (951 × 23 m), asphalt
 * Heliport H1: 37 × 37 ft (11 × 11 m), concrete

Its control tower handles an average of 262 operations per day.

Aviation Facilities Inc. (AFI Flight Training) is west of the control tower on the south side of the field.

The facility is close by to the Interstate 5 and Highway 91 interchange, along with Knott's Berry Farm in Buena Park and Disneyland in Anaheim.

title: Fullerton Municipal Airport


text:
Witchfinder General (film)

Witchfinder General (titled onscreen as Matthew Hopkins: Witchfinder General) is a 1968 British period folk horror film directed by Michael Reeves and starring Vincent Price, Ian Ogilvy, Hilary Dwyer, Robert Russell and Rupert Davies. The screenplay, by Reeves and Tom Baker, was based on Ronald Bassett's 1966 novel Witchfinder General. The film is a heavily fictionalised account of the murderous witch-hunting exploits of Matthew Hopkins (Price), a lawyer who falsely claimed to have been appointed as a "Witch Finder Generall" [sic] by Parliament during the English Civil War to root out sorcery and witchcraft. The plot follows Roundhead soldier Richard Marshall (Ogilvy), who relentlessly pursues Hopkins and his assistant John Stearne (Russell) after they prey on his fiancée Sara (Dwyer) and execute her priestly uncle John Lowes (Davies).

Made on a low budget of under £100,000, the film was produced by Tigon British Film Productions. In the United States, where it was distributed by American International Pictures (AIP), Witchfinder General was retitled The Conqueror Worm (titled onscreen as Matthew Hopkins: Conqueror Worm) by AIP to link it with their earlier series of Edgar Allan Poe adaptations directed by Roger Corman and starring Price; because its narrative bears no relation to any of Poe's stories, American prints book-end the film with his poem "The Conqueror Worm" being read through Price's narration.

Witchfinder General eventually became a cult film, a development partially attributable to Reeves's death nine months after its release. Several prominent critics have championed the film, including Tim Lucas, J. Hoberman, Danny Peary, Robin Wood and Derek Malcolm; their praise has highlighted its direction, performances, and musical score by Paul Ferris.

Plot
In 1645, during the English Civil War, Matthew Hopkins, an opportunistic witch hunter, takes advantage of the breakdown in social order to impose a reign of terror in East Anglia. Hopkins and his assistant, John Stearne, visit various villages to torture confessions out of suspected witches. They charge the local magistrates for the work they carry out.

Richard Marshall is a young Roundhead. After surviving a brief skirmish and killing his first enemy soldier (and thus saving the life of his Captain), he rides home to Brandeston, Suffolk, to visit his lover Sara, the niece of John Lowes, the village priest. Lowes gives his permission to Marshall to marry Sara, telling him there is trouble coming to the village, and he wants Sara far away before it arrives. Sara tells Marshall that they have been threatened and have become outcasts in their own village, and Marshall vows to protect her. At the end of his army leave, Marshall rides back to join his regiment and chances upon Hopkins and Stearne on the path. Marshall gives the two men directions to Brandeston, then rides on.

In Brandeston, Hopkins and Stearne immediately begin rounding up suspects. Lowes is accused at his home and tortured. He has needles stuck into his back (in an attempt to locate the so-called "Devil's Mark") and is about to be killed when Sara stops Hopkins by offering him sexual favours in exchange for her uncle's safety. Hopkins is called away to another village, and Stearne takes advantage of Hopkins's absence by raping Sara. Hopkins returns, discovers what Stearne has done, and refuses to interact with Sara. He instructs Stearne to begin torturing Lowes again. Shortly before departing the village, Hopkins and Stearne execute Lowes and two women.

Marshall returns to Brandeston and is horrified by what has happened to Sara, vowing to kill both Hopkins and Stearne. After "marrying" Sara in a ceremony of his own devising and instructing her to flee to Lavenham, he rides off by himself. In the meantime, Hopkins and Stearne have become separated after a Roundhead patrol attempts to commandeer their horses. Marshall locates Stearne, but after a brutal fight, Stearne is able to escape. He reunites with Hopkins and informs him of Marshall's desire for revenge.

Hopkins and Stearne enter the village of Lavenham. On a patrol to locate the King, Marshall learns they are there and quickly rides to the village with a group of his soldier friends; however, having earlier learned that Sara was in Lavenham, Hopkins has set a trap to capture Marshall. Hopkins and Stearne frame Marshall and Sara as witches and take them to the castle to be interrogated. Marshall watches as needles are repeatedly jabbed into Sara's back, but he refuses to confess to witchcraft, instead vowing again to kill Hopkins. He breaks free from his bonds and stamps on Stearne's face while his army comrades approach the castle dungeon. Marshall grabs an axe and repeatedly strikes Hopkins. The soldiers enter the room and are horrified to see what their friend has done. One of them, Marshall's friend Trooper Swallow, puts the mutilated but living Hopkins out of his misery by shooting him dead. Marshall's mind snaps, and he shouts, "You took him from me! You took him from me!" Sara, also apparently on the brink of insanity, screams uncontrollably over and over again.

Background
From 1645 to 1647, Matthew Hopkins and John Stearne travelled the east of England as witch hunters. They harshly interrogated suspected witches (using methods such as sleep deprivation), examined them by pricking for a witch's mark, or sometimes threw an accused witch into water for a "swimming test". Local authorities paid for these services, plus expenses. Shortly before his death from consumption in 1647, Hopkins published The Discovery of Witches, his treatise on witch hunting. In one of its illustrations, he was labelled the "Witch Finder Generall".

Ronald Bassett's Witchfinder General, a novel loosely based on the historical Hopkins and Stearne, was published in 1966. Tony Tenser, the founder and chief executive of Tigon British Film Productions, read Bassett's book while it was still in galley form and purchased the film rights on impulse before publication. Tenser felt it "had some scope, had some breadth to it; there was canvas for a film".

Writing
Michael Reeves, who had just completed Tigon's The Sorcerers (1967) starring Boris Karloff, provided a story outline which met with Tenser's enthusiastic approval. Tenser immediately began putting together a preliminary budget, and requested that Reeves quickly complete a full film script, stressing to Reeves that the production would need to commence by September of that year to avoid shooting during cold weather. Reeves called in his childhood friend Tom Baker (who had co-written The Sorcerers with Reeves) to assist him with the script. Reeves and Baker began drafting a screenplay with Donald Pleasence firmly in mind as the film's star; however, once American International Pictures became involved in the production, they insisted that their contract star, Vincent Price, be given the lead, and Pleasence was dropped from the film. With the abrupt change of star, Reeves and Baker had to rethink their original concept of presenting Hopkins as "ineffective and inadequate ... a ridiculous authority figure", which they had believed Pleasence could perform effectively. They knew the tall, imposing Price, with his long history of horror roles, would have to be more of a straightforward villain, and they made changes to their script accordingly.

As was required by law for British film productions of that time, the completed first draft of the screenplay was presented by Tenser to the British Board of Film Censors (BBFC) on 4 August to determine if any possible censorship issues could be anticipated. On the same day, a preliminary report was issued by a BBFC examiner, who, commenting that Tenser was an "ape", referred to the screenplay as "perfectly beastly" and "ghoulish". The script was returned to Tenser a few days later, with a more detailed report from the same examiner, which described the screenplay as "a study in sadism in which every detail of cruelty and suffering is lovingly dwelt on". After a second draft was written and sent to the BBFC only eleven days after the first draft, the reaction was nearly the same. It was returned to Tenser with a long list of requirements to reduce the film's possible offensiveness.

Reeves and Baker completed a third and final draft that was "substantially toned down" in content from the previous attempts. This version of the screenplay, which was further revised during production, was missing many of the more explicit moments of violence described in the first submitted drafts: the death spasms of the pre-credits hanging victim, Lowes getting stabbed fifteen times with a steel spike, and a sniper's victim somersaulting through the air and slamming into a tree. A sequence depicting the Battle of Naseby was to be filmed, during which a soldier's head was to be cut off on screen. Most significantly, the film's finale was completely altered. In the original ending, Stearne falls in with a group of gypsies and attempts to rape one of their women, who successfully fights off her attacker by plunging her thumbs into his eyes, blinding him. The gypsies then stake him to death. Marshall arrives and convinces the gypsies to assist him in ambushing Hopkins. Hopkins is viciously beaten by Marshall, who forces a "confession" out of the bloodied man. Marshall partially drowns Hopkins (whose thumbs have been tied to his feet), then finally hangs him. Tenser had previously expressed concerns regarding the scope of the Battle of Naseby sequence as well as the gypsy-ending, as these scenes would both require the employment of additional groups of extras. He asked Reeves and Baker to remove the battle sequence and simplify the ending for the final draft.

Casting
Price was not Reeves' choice to play Hopkins; this was the veteran horror star's 75th film and his 17th for American International Pictures. The role was a great challenge for Price, as his frequent clashes with Reeves left him unsure as to what the director wanted. Despite this, Price felt he delivered "one of the best performances I've ever given".

Ogilvy and Reeves had been friends since they were teenagers, and the actor had appeared in many of the director's amateur short films. Ogilvy had also starred in both of Reeves' two previous feature films, The She Beast and The Sorcerers, and was the first choice for the role of Witchfinder's lead. Describing his working relationship with Reeves, Ogilvy observed that "his mastery of the technical aspects was absolute", but added "Mike never directed the actors. He always said he knew nothing about acting, and preferred to leave it up to us." Ogilvy enjoyed working with Price, finding him to be "very funny, in a 'queeny' sort of way."

Witchfinder was Dwyer's debut feature film. With three years of television work behind her, she had been noticed by Tenser and put under contract with Tigon at the age of 21. She felt Reeves was "just wonderful ... He was really inspiring to work with. And because it was my first film I didn't know how lucky I was." She would go on to make several more horror films for AIP, most of them co-starring Price, before leaving acting in the late 1970s to become a producer.

Appearing as Dwyer's uncle, Witchfinder was one of several horror films the British character actor Rupert Davies performed in during the later stage of his career. Davies was not pleased when he discovered that the filming of his torture scenes was to be augmented with live rats placed on his body. The actor recalled Reeves instructing him, "Don't move! Wait until one of them starts nibbling your jaw then you might move your head a little."

An often-reported anecdote states that Reeves found Russell's high-pitched voice unsuitable for such a rough character, and had all of his dialogue dubbed by Bernard Kay (who also played the fisherman); however, Bill Kelley doubts this story, saying that Russell's voice in Inspector Clouseau is similar to that which appears in Witchfinder.

Filming
Production began on 18 September 1967 with a budget of £83,000. AIP contributed £32,000, with £12,000 for Price's expenditures and fees, and £20,000 for production costs. Philip Waddilove, a former BBC radio and record producer, contributed £5,000 in return for associate producer billing. Although the film would be the biggest-budgeted title in Tigon's history, AIP's costs represented a relatively small expenditure. AIP heads Samuel Z. Arkoff and James H. Nicholson did not expect a high quality result; the movie was intended to be a tax write-off.

The interiors were filmed in two specially converted aircraft hangars near Bury St. Edmunds in Suffolk, which were leased for £1,500; this cost-measure resulted in much of the dialogue having to be re-recorded later, because the tin roofs of the hangars caused an echo. The exterior shots range from the Dunwich Coast (for the scene with the fisherman) to Langley Park outside London (for the scene where Stearne escapes capture). The tracking shot of the ambush after the opening credits was filmed at Black Park in southeast Buckinghamshire, a location frequently used by Hammer Film Productions. Lavenham Square (in Lavenham, Suffolk), site of the witch-burning scene, was the real Lavenham Market Square; the crew lowered TV antennas and telephone wires and Waddilove hired a cherry picker from a local utility company for £10, because the unit could not afford a camera crane. The countryside vistas seen in the chase scenes on horseback were shot on the Stanford Battle Area near Thetford, Norfolk—the producer, through connections with the government, was able to lease parts of the area. The church used in the film is St John The Evangelist in Rushford, Norfolk. The moat drowning and hanging scenes were filmed at Kentwell Hall, in Long Melford. The climax of the film was shot at Orford Castle, on the coast of East Anglia. Filming wrapped as scheduled on 13 November 1967.

The production went relatively smoothly except for the unrelentingly antagonistic relationship that developed between Reeves and Price. Reeves told everyone associated with the production that the American actor was not his choice for the role, and the director's comments had reached the actor back in the US. Reeves refused the courtesy of meeting Price at Heathrow Airport when he arrived in England, a "deliberate snub calculated to offend both Price and AIP". "Take me to your goddamn young genius", Price reportedly said to co-producer Philip Waddilove, who greeted the actor at the airport instead of Reeves. When Price went on location and met Reeves for the first time, the young director told the actor, "I didn't want you, and I still don't want you, but I'm stuck with you!"

According to Kim Newman in his book, Nightmare Movies, when Reeves made a suggestion on the set, Price objected and told the director: "I've made 87 [sic] films. What have you done?" And Reeves responded: "I've made three good ones." Price later recalled that this was one of the first movies where he clashed with the director. Price felt that all the actors on the set had a difficult time with the director, who Price believed did not understand how to give instructions to actors.

In one scene, Reeves needed Price to shoot his flintlock between the ears of the horse he was riding. When Price realised that Reeves had ordered that an actual blank charge was to be used so the weapon's puff of smoke would be visible, he shouted, "What? You want the gun to go bang between the ears of this fucking nag? How do you think he's going to react?"; however, Reeves insisted and, when the gun went off, the horse reared and sent Price tumbling onto the ground. Price was not hurt but he was extremely angered by the incident.

On the final day of shooting, Price showed up on the set visibly intoxicated. Reeves seethed to Waddilove, "He's drunk—how dare he be drunk on my set! I'll kill the bastard." Waddilove soon discovered that Reeves planned to inflict painful revenge on the actor. During preparations for Price's violent death scene, the director was overheard instructing Ogilvy to "really lay into Vincent" with the stage axe. When the scene was filmed, Ogilvy responded with blows that were not faked, but Waddilove had fitted Price's costume with padding, protecting the actor from injury.

Despite the tension between the two men during the production, when Price saw the film the following year, he admitted that he understood Reeves's artistic vision and wrote the young director a ten-page letter praising the film. Reeves wrote Price back, "I knew you would think so." Years after Reeves's death, Price said, "I realised what he wanted was a low-key, very laid-back, menacing performance. He did get it, but I was fighting him almost every step of the way. Had I known what he wanted, I would have cooperated."

Reeves also had to deal with other problems during the shooting. On the first day, Price was thrown from his horse and sent back to his hotel to recover. The actor returned to work the following day. Towards the end of filming, a strike was called when the British technicians union learned the production company was not hiring a large enough crew as required by union rules. After an extra man was hired, the crew resumed working. On two occasions, Reeves was short of actors. Waddilove replaced an absent actor as a Roundhead officer during Wymark's one-day scene. Waddilove's wife, Susi, played one of the women in the animal enclosure during the witch-burning sequence.

The film's violent ending deviated from the script due to a continuity problem. In the scene as written, Trooper Swallow was supposed to use both his and Harcourt's flintlock pistols to shoot both Hopkins and Richard dead; however, only Harcourt was depicted in previous scenes as carrying a pistol, and therefore only one person could be shot. When this plot hole was discovered, Reeves immediately told actor Nicky Henson, "All right, just shoot Vincent and I'll get Ian to scream and shout and go mad and freeze frame on Hilary Dwyer screaming".

Several additional nude scenes were filmed during the production. Set in a pub and involving local "wenches", the sequences were reportedly solely intended for the film's German release version. Reeves refused to take part in the filming of these sequences and they were completed by the crew after the initial versions of the scenes had been shot, with Tigon's Tenser acting as director. According to Waddilove, Louis M. Heyward, AIP's head of European productions, appeared at the location only to ensure those additional scenes were filmed. The credits read, "Additional scenes by Louis M Heyward". According to Ogilvy, this was an in-joke because for Reeves, "additional scenes" meant "some prick of a producer putting his oar in and messing up what the director had done".

Soundtrack
Witchfinder General's score was composed by Reeves's friend Paul Ferris, who had previously scored The Sorcerers, and acted in the film under the alias "Morris Jar" (a reference to his favourite composer, Maurice Jarre). He drew inspiration from the folk song "Greensleeves" in writing the romantic theme "Peaceful Interlude" as a means of evoking its time period, as well as to serve as a counterpoint to the film's violence. Film critic Tim Lucas compared the score to Marcello Giombini's music for the swashbuckler film Knives of the Avenger, saying that each film is a "historical melodrama that functions as a metaphoric Western".

Ferris's ambitions clashed with Tenser; the composer hoped to have the score performed with traditional Elizabethan instruments, a creative choice that Tenser vetoed for budgetary reasons. He instead conducted a 55-piece orchestra with whom he recorded at Olympic Studios in February 1968; he paid most of the performers' wages with his own money when Tenser refused to sanction additional funds, although he was later reimbursed after Tenser was impressed with his efforts. Ferris sold the publishing and master rights for the soundtrack to De Wolfe Music, who incorporated it into their large library of stock music and released the score, alongside Peter Knight's music for the Tigon/AIP film Curse of the Crimson Altar, on their album Strange Location, credited to the "London Studio Orchestra". De Wolfe eventually released an official soundtrack album in 2013; the CD release includes a 12-page booklet containing stills from the film and liner notes by Tenser biographer John Hamilton.

Themes and genre
In a piece written for the British Film Institute commemorating the 50th anniversary of Witchfinder General's original release, Adam Scovell identified "weaponised belief"—represented by Hopkins's exploitation of the irrationalities and superstitions of the populace as a means of gaining power and fulfilling his sexual and political ambitions—as the film's primary thematic concern, stating that "belief doesn't create [his] sword, but it most definitely sharpens it". He also describes the use of "pastoral violence", whereby the beauty of the English countryside is juxtaposed with acts of extreme violence, notably in the opening scene depicting the hanging of a condemned witch.

Writing for Cine Outsider, Jerry Whyte believes that the film "brilliantly recreates that sense of social collapse" and its commentary has merit in critiquing the policies of historical witch-hunts, which would have resonated with contemporary audiences in the light of McCarthyism and the Vietnam War. Expanding on Iain Sinclair's assertion that, "The film's success lies in the tension between [Tom] Baker's Utopian permissiveness, his feel for the country, and Reeves' demonic fatalism", Whyte describes Witchfinder as an "English Western". Noting Reeves' long-standing interest in the genre, he identifies the film's various connections to it, including its frequent horse-riding sequences, clear distinctions between good and evil, and Marshall's pursuit of revenge against Hopkins. Responding to David Pirie's acclamation of the film as "One of the most personal and mature statements in the history of British Cinema", Whyte also considers the film to be one of the few fictionalised portrayals of the English Civil War to feature a serious, positive depiction of the New Model Army and the Good Old Cause compared to such films as Cromwell (1970) and To Kill a King (2003), which he described as "detached travesties of truth, mere hagiographies of Cromwell, that lack the vim, vision, intensity and invention of Reeves' low-budget, improvised gem".

Witchfinder General is commonly cited as an example of the subgenre of folk horror and is often grouped with The Blood on Satan's Claw (1971) and The Wicker Man (1973) as definitive works of the genre. This association was popularized by Mark Gatiss in the 2010 documentary series A History of Horror, and is expanded on in later works such as Adam Scovell's 2017 book Folk Horror: Hours Dreadful and Things Strange and Kier-La Janisse's 2021 documentary Woodlands Dark and Days Bewitched: A History of Folk Horror. Scovell connects these films to folk horror because in all three, characters are physically and/or socially isolated in a rural landscape where they confront hostile belief systems.

Biographer Benjamin Halligan suggests that the film is a pinnacle in Reeves's evolution as a filmmaker, with The She Beast representing a straightforward approach to the trappings of the horror genre, The Sorcerers acting as an allegorical commentary on cinema itself, and Witchfinder serving as a work that transcends genre fiction by using its conventions to create "something different altogether".

Censorship
For its time, Witchfinder General was considered an unusually sadistic film. British film censor John Trevelyan was reportedly a distant cousin of Michael Reeves and accepted the director's good intentions when Reeves explained why he felt it was necessary to include such intense violence in the movie. Trevelyan nonetheless argued, "The film gave the impression that it was exploiting violence, and in particular, sadism for commercial reasons." Reeves agreed to make some of the initial minor cuts himself, but when additional and more extensive demands were made he adamantly refused to take part in any further editing.

Trevelyan claimed that Reeves later wrote him a letter admitting that the cuts were not as harmful as he had expected. No copy of the letter has ever surfaced, and based on several other comments the director subsequently made about how the edits "ruined the film", Reeves's biographer Benjamin Halligan believes Trevelyan may have somehow "misremembered" the existence of this letter, confusing it with an earlier missive from the director in which he made a plea for the BBFC's leniency.

UK reception
The truncated version received considerable controversy from UK film critics for the amount of violence shown on screen. In The Sunday Times, Dilys Powell emphasised the "hanging, burning, raping, [and] screaming" and called the film "Peculiarly nauseating." Both The Guardian and Margaret Hinxman of The Sunday Telegraph felt the film was filled with extravagant sadism. The Monthly Film Bulletin said: "Not since Peeping Tom has a film aroused such an outcry about nastiness and gratuitous violence as this one". The pacing of the film was criticised by playwright Alan Bennett, who stated that there were no funny moments to offset the horror. Although initially infuriated with Bennett's critique, Reeves later indicated that Bennett's reaction confirmed his decision to incorporate extreme violence in the film.

Several critics praised the film and its horror elements. John Russell Taylor in the Times Saturday Review  praised Reeves, stating "He already has real achievements behind him: not merely good horror films, but good films, period." Films and Filming praised Price's performance as Hopkins and stated that the film was horrifying.

US reception
AIP heads Arkoff and Nicholson originally contributed their portion of the budget as a tax write-off, but when they were screened the completed film they were astonished by its quality. Arkoff noted that "Michael Reeves brought out some element in Vincent that hadn't been seen in a long time."

In the US, the film was not subject to any censorship and released to AIP's usual mix of drive-ins and grindhouses on a double bill with The Young, the Evil and the Savage. In an attempt to link the film with Roger Corman's earlier Edgar Allan Poe series of films, it was retitled The Conqueror Worm. Brief prologue and epilogue narrations by Price, taken from Poe's poem, were added to justify the new title. The film went nearly unnoticed by critics during its US release.

Some reviewers criticised the film's script and high level of violence. While Variety praised Dwyer's performance, they felt it was "hampered by Michael Reeves's mediocre script and ordinary direction". Renata Adler also praised the acting in The New York Times. Despite the lack of critical support, the film was a modest success in the United States, earning $1.5 million for AIP according to Cinefantastique magazine. In his biography of Reeves, Benjamin Halligan claims the film made $10 million in the US.

Reassessment
After its initial release in the spring of 1968, several critics began championing the film in the UK and US. Critics praised the film as Reeves's best work, and highlighted the film's pacing. Critics positively highlighted the English countryside as the setting and the performances by the actors. In 2000, Derek Malcolm included Witchfinder General as part of his series The Century of Films, a list of what he considered to be the one hundred most "artistically or culturally important" films of the 20th Century. In 2005, the magazine Total Film named Witchfinder General the 15th-greatest horror film of all time. The film has obtained cult status, which J. Hoberman of The Village Voice attributed to the death of its director before the film's release, the acting performance of the cast, and the depiction of evil acts by political figures resonating with audiences.

A contrary assessment came from Alex Cox, who in his introduction to the film in a 1992 episode of BBC2's Moviedrome, praised Price's performance as being "untroubled" by his American accent, but otherwise described the film as a "fairly routine Price horror film". He also stated that the film's violence was tame compared to the Friday the 13th and A Nightmare on Elm Street films.

While some reviewers have praised the film for its historical accuracy, others have questioned its adherence to historical fact. Malcolm Gaskill, fellow and former Director of Studies in history at Churchill College, Cambridge, critiqued the film as "a travesty of historical truth" and stated that the only historically accurate facts in the film were that Hopkins and his assistant tortured, tried, and hanged John Lowes, the vicar of Brandeston. Based on its historical accuracy Gaskill rated the film 3/10.

Legacy and influence
Witchfinder General inspired American International Pictures to produce more movies linked to Edgar Allan Poe, including The Oblong Box (linked to Poe's story "The Premature Burial") and Cry of the Banshee (very loosely linked to Poe's poem "The Bells"). The Oblong Box starred Price and was originally scheduled to be directed by Reeves, but was given to Gordon Hessler after Reeves quit a week prior to production. Hessler also directed Cry of the Banshee, which featured Price and Dwyer. It was derivative of Witchfinder General, but it portrayed the witches as real and contained more explicit sexual violence. Tigon followed up on Witchfinder General by modifying the story for its 1971 release Blood on Satan's Claw; the setting was moved from the Victorian era to the 18th century, and other elements were added to make it more similar to Witchfinder.

Witchfinder General was popular in Germany and inspired new films in the same genre. Similar films fully or partially financed by German production companies included Mark of the Devil, The Bloody Judge and Hexen geschändet und zu Tode gequält, released in the U.S. as Mark of the Devil Part II.

Some critics maintain that Ken Russell's The Devils was influenced by Reeves's film; however, Russell said that he hated Reeves's film, describing it as "one of the worst movies I have ever seen and certainly the most nauseous". Witchfinder General was the inspiration for a BBC Radio 4 play Vincent Price and The Horror of The English Blood Beast, first broadcast in March 2010.

In 2016, director Nicolas Winding Refn and distributor Rupert Preston obtained the remake rights to Witchfinder General. In 2019, John Hillcoat was announced as the director for the remake.

Home video versions
The "Export Version", which contained both the previously cut violence and alternative shots of topless nudity filmed for overseas release, was passed uncut by the BBFC in 1995, and released on VHS by Redemption. In 2001, a DVD was released in the UK by Metrodome consisting of two versions, the complete "Director's Cut" containing the two minutes of previously censored violence, and the aforementioned "Export Version", with the violence intact and shots of nudity added to certain sequences. In both versions, the two minutes of violence have been taken from what has been described as "a grainy VHS source". Some critics complained that watching the film in this manner was "jarring" or "distracting". The soundtrack of the newly inserted nude shots had "brief snippets of audio repeating itself because of the timing involved in inserting the previously cut footage".

In the US, while censorship of the film has never been a factor, the film experienced numerous delays in appearing on home video in its originally intended form. When Orion Pictures acquired the rights to many of AIP's titles in the 1980s, they were unwilling to also purchase rights to the musical soundtracks of some of the films, including Witchfinder General, and replaced the original music with synthesizer scores by composer Kendall Schmidt. Tim Lucas described Schmidt's rescoring as a "betrayal to every effort the original film made to remain true to its time frame". For years, Ferris's original score was not available in the US on home video releases, although it was included on theatrical and syndicated television prints. The HBO videotape release from the late 1980s used the Orion version, which also included the nude inserts. Lucas says that the spoken soundtrack is not correctly matched to these newly added shots.

A restored version was released on DVD under the Midnite Movies banner on 11 September 2007 by 20th Century Fox Home Entertainment. The release includes the complete, uncut version of the film with the Ferris score intact. Price's opening and closing narration tacked on to the AIP Conqueror Worm version, as well as the alternate nude sequences, were not available on this release, but were included in the UK Blu-ray release from Odeon Entertainment issued in June 2011. The Blu-ray utilised the same high-definition transfer as the 2007 MGM DVD and was completely uncut. Scream Factory included the film as part of the company's multi-title Vincent Price Blu-ray box set released in fall of 2013.

title: Witchfinder General (film)


text:
Anthem of the Tajik Soviet Socialist Republic

The State Anthem of the Tajik SSR was the regional anthem of the Tajik Soviet Socialist Republic, a constituent republic of the Soviet Union, adopted in 1946. After the dissolution of the Soviet Union in 1991, this anthem was still in use until 1994 when Tajikistan adopted a new anthem with different lyrics but retained the same melody.

Background
The anthem was used between 1946 and 1994. The music was composed by Suleiman Yudakov, and the lyrics were written by Abolqasem Lahouti. The melody is preserved in "Surudi Milli", the current national anthem of Tajikistan, with different lyrics. In 1977, the lyrics were changed to remove mentions of Joseph Stalin. This is the version presented here for the Tajik stanzas, but the Russian version given here is the old one.

Unlike other former Soviet states like Belarus, Kazakhstan and Uzbekistan that appropriated their old Soviet-era regional anthems as national ones but did so without the Soviet lyrics, Tajikistan retained the Soviet lyrics for a time before replacing them in 1994.

It is also one of the nine countries to continuously use their Soviet-era anthems; the other eight being Uzbekistan, Russia (since 2000), Kazakhstan (until 2006), Turkmenistan (until 1996), Belarus, Kyrgyzstan (until 1992), Azerbaijan (until 1992), Ukraine (until 1992).