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Adolph Gottlieb

Adolph Gottlieb (March 14, 1903 – March 4, 1974) was an American abstract expressionist painter who also made sculpture and became a print maker.

Early life and education
Gottlieb, one of the "first generation" of Abstract Expressionists, was born in New York City in 1903 to Jewish parents. From 1920 to 1921 he studied at the Art Students League of New York, after which, having determined to become an artist he left high school at the age of 17 and worked his passage to Europe on a merchant ship. He traveled in France and Germany for a year. He lived in Paris for six months during which time he visited the Louvre Museum every day and audited classes at the Académie de la Grande Chaumière. He spent the next year traveling in Germany, Austria, Czechoslovakia and other parts of Central Europe, visiting museums and art galleries. When he returned, he was one of the most traveled New York Artists. After his return to New York, he studied at the Art Students League of New York, Parsons School of Design, Cooper Union and Educational Alliance.

1920s and 1930s
Gottlieb had his first solo exhibition at the Dudensing Galleries in New York City in 1930. During the 1920s and early 1930s he formed lifelong friendships with other artists such as Barnett Newman, Mark Rothko, David Smith, Milton Avery and John Graham. In 1935 he and a group of artists including Ben-Zion, Joseph Solman, Ilya Bolotowsky, Ralph Rosenborg, Louis Harris, Mark Rothko and Louis Schanker, known as "The Ten", exhibited their works together until 1940.

During that period Gottlieb made a living with a variety of part-time jobs and worked on the Federal Art Project in 1936. From September 1937 to June 1938, Gottlieb lived in the Arizona desert, outside of Tucson. In those nine months, he radically changed his approach to painting. He moved from an expressionist-realist style to an approach that combined elements of surrealism and formalist abstraction, using objects and scenes from the local environment as symbols to remove temporality from his work. He transitioned from this into more Surrealist works like the Sea Chest, which displays mysterious incongruities on an otherwise normal landscape.

Here he conveys to the viewer the expansiveness he must have felt looking at Arizona desert sky, although he distills this expansiveness into a more basic abstract form: "I think the emotional feeling I had was that it was like being at sea …Then there's the tremendous clarity – out in Arizona there's a tremendous clarity of light and at night the clouds seem very close." When these Arizona works were exhibited in New York after Gottlieb's return they created a break with Gottlieb's former circle of colleagues, several of whom condemned his new work for being "too abstract".

1940s–1950s
Gottlieb and a small circle of friends valued the work of the Surrealist artist they saw exhibited in New York in the 1930s. They also exchanged copies of the magazine "Cahiers d'art" and were quite familiar with current ideas about automatic writing and subconscious imagery. Gottlieb painted a few works in a Surrealist style in 1940 and 1941. The results of his experiments manifested themselves in his series "Pictographs" which spanned from 1941 to 1950. In his painting Voyager's Return, he juxtaposes these images in compartmentalized spaces. His images appear similar to those of indigenous populations of North America and the Ancient Near East. If he found out one of his symbols was not original, he no longer used it.

In 1941, disappointed with the art around him, he developed the approach he called Pictographs. Gottlieb's pictographs, which he created from 1941 to 1954, are one of the first coherent bodies of mature painting by an American of his generation.

Gottlieb spoke of his painting concerns in a 1947 statement:

"The role of artist has always been that of image-maker. Different times require different images. Today, when our aspirations have been reduced to a desperate attempt to escape from evil, and times are out of joint, our obsessive, subterranean and pictographic images are the expression of the neurosis which is our reality. To my mind certain so-called abstraction is not abstraction at all. On the contrary, it is the realism of our time."

In May 1942, his first "pictograph" was displayed at the second annual exhibition of the Federation of Modern Painters and Sculptors, located at the Wildenstein Galleries in New York In his pictographs, he introduced a new way of approaching abstraction that included imagery drawn from his subconscious but which notably departed from the idea of narrative. To meet this goal Gottlieb presented images inserted into sections of a loosely drawn grid. Each image existed independently of the others, yet their arrangement on the same plane, along with relationships of color, texture and shape, allow the viewer to associate with them. Meaning, then, is intensely personal – another innovation of Gottlieb's pictograph paintings based on Surrealist biomorphism. For Gottlieb, biomorphism was a way to freely express his unconscious mind, in which he had become fascinated via John Graham, Sigmund Freud and Surrealism. Gottlieb also incorporated automatism – the painterly technique for Freudian free-association – was the method Gottlieb used to generate biomorphic shapes, which were forms spontaneously conceived in his unconscious. These biomorphic shapes were separated by the all over grid pattern, which served as the overall structure of the "pictograph" series.

Gottlieb once said, "If I made a wriggly line or a serpentine line it was because I wanted a serpentine line. Afterwards it would suggest a snake but when I made it, it did not suggest anything. It was purely shape... ". These lines and shapes that Gottlieb used were easily interpreted to mean different things by different people. By 1950 Gottlieb observed that the "all-over painting" approach had become a cliché for American abstract painting. He began his new series of Imaginary Landscapes in which he retained his usage of a 'pseudo-language' but added the new element of space. He was not painting landscapes in the traditional sense, rather he modified that genre to match his own style of painting. Imaginary Landscapes are horizontal canvasses divided into two registers, one very active below a more contemplative upper one, set up a different approach to abstraction at mid-century. In 1955 Gottlieb remarked: I frequently hear the question, "What do these images mean?" This is simply the wrong question. Visual images do not have to conform to either verbal thinking or optical facts. A better question would be "Do these images convey any emotional truth?"

Late in 1956 Gottlieb formulated the image that has become known as the "Burst" and spent most of the next two years working on this approach. He simplifies his representation down to two disc shapes and winding masses. His paintings are variations with these elements arranged in different ways. This series, unlike the Imaginary Landscape series, suggests a basic landscape with a sun and a ground. On another level, the shapes are so rudimentary; they are not limited to this one interpretation.

He was a masterful colorist as well and in the Burst series his use of color is particularly crucial. He is considered one of the first color field painters and is one of the forerunners of Lyrical Abstraction.

1960s–1970s
By 1960 Gottlieb's efforts on his "Burst" series, allowed him to greatly simplify his use of imagery. He created "Burst" and "Imaginary Landscape" type paintings for the remainder of his career but, unlike some of his colleagues, he did not limit himself to one or two images.Discussion of Gottlieb's art is usually limited to mentions of "Bursts" or "Imaginary Landscapes", which detracts from the broad range of ideas this artist examined. Gottlieb summarized his aims in a 1967 interview:

"But to me everything is nature, including any feelings that I have – or dreams. Everything is part of nature. Even painting has become part of nature.  To clarify further: I don't have an ideological approach or a doctrinaire approach to my work.  I just paint from my personal feelings, and my reflexes and instincts.  I have to trust these."

A representative painting from this period is included in The Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, NY.

In 1967 while Gottlieb was preparing for the Whitney and Guggenheim Museum exhibition he began to make small models for sculptures out of cut and painted cardboard that, he said, made him feel like "a young sculptor, just beginning". These small sculptures evolved into larger works in cut, welded and painted steel and aluminum. His foray into sculpture lasted only about a year and a half, but in that brief time he created a body of work that challenged the delineation between painting and sculpture. In ways similar to his friend the sculptor David Smith, Gottlieb's background as a painter made it impossible for him to visualize objects without color. Once he accepted this, He was compelled to use all the tools he had developed in his long painting career – touch, visual balance, surface quality and more – to make his sculptures, like his paintings, become "a vehicle for the expression of feeling… I feel a necessity for making the particular colors that I use, or the particular shapes, carry the burden of everything that I want to express, and all has to be concentrated within these few elements." In all Gottlieb created 42 sculptures, including three large, outdoor pieces that are currently in the collections of The National Gallery of Art in Washington, DC, The Storm King Art Center in New Windsor, NY, and the Metropolitan Museum of Art in New York City.

Gottlieb remained active throughout the 1960s. In 1963 he became the first American artist to be awarded the Gran Premio of the São Paulo Bienal in Brazil. In 1965, he received the American Academy of Achievement's Golden Plate Award. In 1968, the Guggenheim Museum and the Whitney Museum in New York collaborated on a retrospective exhibition of his art that filled both museums. This remains, to date, the only collaborative project between these two major institutions.

Career highlights
Gottlieb had 56 solo exhibitions and was included in over 200 group exhibitions. His works of art are in the collections of more than 140 major museums around the world. Gottlieb was accomplished as a painter, draughtsman, printmaker and sculptor. He designed and oversaw construction of a 1500 square-foot stained glass façade for the Milton Steinberg Center in New York City in 1954, and he designed a suite of 18 stained glass windows for the Kingsway Jewish Center in Brooklyn. He was the first of his generation to have his art collected by the Museum of Modern Art, New York (1946) and the Guggenheim Museum (1948).

Gottlieb's work is included in the permanent holdings of numerous museum institutions in the US, for instance, his work Altar from 1947, is included in the permanent collections of the Pérez Art Museum Miami, Florida.

Death and legacy
A stroke in 1970 left Gottlieb paralyzed except for his right arm and hand. He continued to paint and to exhibit his art until his death in March 1974. His funeral service was held on March 6, 1974, at Frank E. Campbell Funeral Home, and he was buried at Mt. Pleasant Cemetery, Hawthorne, NY. He was voted into the American Academy of Arts and Letters in 1972.

Gottlieb advocated for artists' professional status throughout his life. He helped to organize "Forum 49” and other artist-led events and symposia in New York and Provincetown in the 1940s and 1950s. In 1950 he was the primary organizer of the protest against the Metropolitan Museum of Art that resulted in him and his colleagues gaining recognition as "The Irascibles". Following directions in his Will, the Adolph and Esther Gottlieb Foundation was formed in 1976, offering grants to visual artists.

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Talk:Instant film

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Impossible Mission
Exciting news, A group called The Impossible Mission have bought the Polaroid factory and equipment and aim to start mass production in early 2010. Does anyone else have any information to add to this page on the matter? The website is [|http://www.the-impossible-project.com/] George5210 (talk) 21:50, 20 January 2009 (UTC)

*
FTA: "Some modern film packs also contain a flat electrical battery to drive motors in the camera.", I presume it means physically flat, not dis-charged, is this correct? If so I shall re-word it less confusingly. Boffy b 10:14, 2004 Dec 19 (UTC)

Perhaps we can just replace the word "flat" with "thin"? Brianjd 10:16, 2004 Dec 19 (UTC)

I removed the following statement:

 * As an interesting side note, Mr. Land approached Kodak with his film and camera idea and was turned down before approaching the Polaroid company. The issue was his insistence on using his name on his camera, hence the name "Polaroid Land Camera." Kodak was unwilling to deal, to their later regret.

Since Mr. Land founded the Polaroid Corporation, I find it hard to believe he went to Kodak before approaching the Polaroid Company. -- Egil 19:07, 20 Apr 2005 (UTC)

How did Polaroid manage to hang on to the patent for 50+ years?
I'm amazed that I've never been able to find any info about this. Polaroid sued Kodak for infringing on a 30 year old patent. And won. Patents only last 17 years, right? Does anyone know anything about this? -- Richfife 19:30, 1 February 2006 (UTC)
 * The usual way is to keep patenting new things, new improvements. As well as I know it, the integral (no peeling needed) film was the important one. Polaroid started designing it after learning about how many of the peel off tabs and negatives were littering popular tourist locations.
 * The usual way is to keep patenting new things, new improvements. As well as I know it, the integral (no peeling needed) film was the important one. Polaroid started designing it after learning about how many of the peel off tabs and negatives were littering popular tourist locations.

The Polaroid integral film is exposed from the front (viewing side), which means it needs a mirror to reverse the image. The Kodak (and very similar Fuji) version is exposed from the back. Kodak thought that would be a big enough improvement to satisfy patent courts that it was not infringing. In any case, it was less than 17 years from SX-70 and its film. Gah4 (talk) 05:24, 17 January 2022 (UTC)

17 years unless stared otherwise i thought —Preceding unsigned comment added by 172.209.83.146 (talk) 11:21, 29 December 2007 (UTC)

Joe McNally and Life-Size Polaroids
While the article mentions 8" x 10" being the maximum size of Polaroid film, and this is probably true in a retail sense, there were 40" x 80" prints made by LIFE photographer Joe McNally, exhibited as Faces of Ground Zero. The exhibit was sponsored by Morgan Stanley and an external article about the exhibit can be found here:. Dj69 02:24, 29 March 2006 (UTC) POLAROID FILM WORKS FROM MAGIC —Preceding unsigned comment added by 68.48.244.35 (talk) 06:16, 5 November 2007 (UTC)

External links modified
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External links modified
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The first image is a bit odd
This might just be me, but I feel like the thumbnail with the picture examples looks weird. Are they cut-outs of someone? What are the images even of? WinterWarp (talk) 15:48, 1 December 2021 (UTC)

 * It looks like they are actually photos of cardboard cutouts shaped like a person. TooManyFingers (talk) 04:25, 3 June 2024 (UTC)

Lowest speed in instant film
the article right now says instant film was made in speeds as slow as iso 4, but i believe this to be a typo because the lowest iso i could find for instant film was iso 40 here: https://books.google.com/books?id=Nx8_7xbot7cC&pg=PA60&dq=iso+40+instant+film&hl=en&sa=X&ved=2ahUKEwi3psj45ayGAxXhRTABHdJfDzgQ6AF6BAgHEAI#v=onepage&q=iso%2040%20instant%20film&f=false should the article lead be changed to say the lowest speed in instant films is iso 40? Pancho507 (talk) 02:40, 27 May 2024 (UTC)

"Packfilm"
The average person has no idea what "packfilm" means. If you want to use the word in an article, please first clearly explain what it is. TooManyFingers (talk) 20:56, 2 June 2024 (UTC)

title: Talk:Instant film


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William H. Ferris

William Henry Ferris (July 20, 1874 – August 23, 1941) was an author, minister, and scholar.

Early life
He was born in New Haven, Connecticut, the son of David H. and Sarah Ann Jefferson Ferris. His grandparents were free at the time of his father's birth. His father joined the Union Army voluntarily at the age of 17. His mother's father escaped from captivity on plantation and later purchased the freedom of his wife and children.

Education and career
A graduate of Yale University (1895) with a BA, Ferris subsequently took on the role of writer and lecturer. He was a Harvard Divinity School student from 1897 to 1899, graduating Harvard with an MA in journalism in 1900. After teaching at Tallahassee State College, Florida Baptist College (1900–01), he worked for a number of newspapers from 1902 to 1903. He continued teaching during the years 1903–1905 at Henderson Normal School and Kittrell College in North Carolina. Ferris became pastor of Christ Congregational Church from 1904 to 1905. In 1908 he wrote a book entitled "Typical Negro Traits". From 1910 to 1912 he was given charge of the "colored" missions of A.M.E. Zion Church of Lowell and Salem, Massachusetts as a lecturer at white churches. He went on to write The African Abroad; or his Evolution in Western Civilization: Tracing his development under Caucasian Milieus in 1913.

Ferris held positions as Assistant President General of the UNIA-ACL and Associate Editor of the Negro World.

Activism
He was a participant in the March 5, 1897, meeting to celebrate the memory of Frederick Douglass which founded the American Negro Academy led by Alexander Crummell. Over the coming decades, Ferris remained active among the scholars, editors, and activists of this first major African American learned society, refuting racist scholarship, promoting black claims to individual, social, and political equality, and studying the history and sociology of African American life. Ferris worked with William Monroe Trotter and the Boston Guardian, W. E. B. Du Bois and the Niagara Movement, and John Edward Bruce and the Negro Society for Historical Research.

At the suggestion of Trotter, Ferris came to Washington in January 1903 and spoke in opposition to the more conservative approach to black rights of Booker T. Washington in front of the Bethel Literary and Historical Society on January 6, 1903. As a reply, Richard W. Thompson spoke in front of the Second Baptist Lyceum on January 25 in support of Washington. In 1999, Jacqueline M. Moore argued that Thompson's paper failed to hold his ground against Ferris, who was present at the talk.

The Second Baptist Lyceum met again on February 3 to hear a paper by Jesse Lawson in favor of Washington. In support of Washington were Robert H. Terrell, Bishop Alexander Walters, Dr. William Bruce Evans, J. H. Ewing, and Thompson, and those against were Ferris, Armond W. Scott, Lafayette M. Hershaw, T. M. Dent, Shelby James Davidson, and Mrs. Ida D. Bailey. Terrell, Evans, Lawson, and Thompson all owed positions or favors to Washington's influence. John C. Dancy, George H. White, Mrs. Anna Evans Murray wife of Daniel Murray, Reuben S. Smith, Kelly Miller, Prof. Lewis Baxter Moore, and John P. Green were neutral. This controversy continued into the summer where important meetings in Louisville and Boston saw heated argument which even led to blows and Trotter's and Granville Martin's imprisonment.

In 1922 was working on a volume entitled The African in Western Lands.

The African Times and Orient Review published an article by Ferris in which he praised an article previously contained in the same journal by Marcus Garvey.

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Untitled
Took the notes I had and redid the article completely, although it may still seem similar since Runoko and I have the same sources...

Addition
added more notes based on Who's who of the Colored Race. --Nazikiwe 15:04, 22 Dec 2004 (UTC)

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Category:Cities and towns in Karnataka

Cities and towns in the state of Karnataka, India.

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Category:Economy of Ireland

This category relates to the economy of the island of Ireland as a whole, including the Republic of Ireland and Northern Ireland.

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Toe Blake

Joseph Hector "Toe" Blake (August 21, 1912 – May 17, 1995) was a Canadian ice hockey player and coach in the National Hockey League (NHL). Blake played in the NHL from 1935 to 1948 with the Montreal Maroons and Montreal Canadiens. He led the NHL in scoring in 1939, while also winning the Hart Trophy for most valuable player, and served as captain of the Canadiens from 1940 to his retirement. He won the Stanley Cup three times as a player: in 1935 with the Maroons, and in 1944 and 1946 with the Canadiens. While with the Canadiens Blake played on a line with Elmer Lach and Maurice Richard which was dubbed the Punch line, as all three were highly-skilled players. In 2017 Blake was named one of the '100 Greatest NHL Players' in history. He was also known as "The Old Lamplighter" due to his skill for putting the puck in the net.

Blake retired as a player in 1951, and soon after turned to coaching. After several years in lower leagues he was named the Canadiens' coach in 1955, and would remain in that role until his retirement in 1968. As coach of the Canadiens he won the Stanley Cup a further eight times, and helped Montreal become one of the most dominant teams in NHL history.

Early life
Blake was one of 13 children to Wilmer and Arzélie Blake (11 survived childhood). Wilmer (born 1874) was originally from Massachusetts and had moved to Canada around 1896, and was of English and Irish ancestry. Arzélie was born in Buckingham, Quebec in 1877; her family, the Filions, had arrived in Quebec in the 17th century. Wilmer and Arzélie married in 1898, and shortly after moved to Sudbury, Ontario for work. Soon after Blake's birth the family moved to Coniston, as the mine Wilmer had been working at was slowly closing.

Playing career
Blake played junior and senior hockey in the Sudbury area and was part of the 1932 Memorial Cup champions, the Sudbury Cub Wolves. He played for the Hamilton Tigers of the Ontario Hockey Association during the 1934–35 season before he signed with the Montreal Maroons of the National Hockey League on February 22, 1935; he made his NHL debut two days later on February 24, against the Chicago Black Hawks. Blake played eight games with the Maroons in the 1934–35 season, but was held scoreless; he did not play in any of the team's playoff games, but when the Maroons won the Stanley Cup, Blake's name was added to the trophy. Blake then played for the Canadiens until his retirement in 1948. He won the Hart Memorial Trophy as the NHL's Most Valuable Player in 1938–39; that same year he was also the league scoring champion with 47 points. For the last eight seasons, he was team captain, and led the Canadiens to Stanley Cups in 1944 and 1946. In the latter year, in which he incurred only one minor penalty, he became the first Canadien ever to win the Lady Byng Memorial Trophy for sportsmanship, which only Mats Näslund has replicated since as of 2022 (in 1987–88).

While playing with the Canadiens, he was part of a trio called the "Punch Line," with Elmer Lach at centre and Maurice Richard at right wing. He scored the Stanley Cup-clinching goal in the 1944 Stanley Cup Finals at 9:12 of the first overtime of game four, helping the Canadiens complete a four-game sweep of the Chicago Blackhawks. The following season, the Punch Line became the second set of linemates ever to finish first, second, and third in NHL scoring in one season (Lach had 80 points, Richard 73, and Blake 67). They followed the Boston Bruins' Kraut Line of 1939–40, and would be followed by the Detroit Red Wings' Production Line in 1949–50. During a loss to the New York Rangers on January 11, 1948, Blake collided with Rangers' skater Bill Juzda, awkwardly hit the boards and suffered a double fracture of his ankle, ending his NHL career. In 1998, he was ranked number 66 on The Hockey News’ list of the NHL's 100 greatest players of all time to date. At the time of his retirement from the NHL Blake was second all-time in career scoring with 527 points, 21 points behind Bill Cowley for the all-time record. He had the all-time record for career points in the playoffs with 62 points in 58 games.

Coaching career
After eight years coaching several of the Canadiens' minor-league affiliates, he was named head coach of the Canadiens on June 8, 1955, replacing Dick Irvin. Blake was fluent in French (his mother was a Franco-Ontarian), and Canadiens management also felt that Richard's former linemate was better suited to control the star's explosive temper (which had led to a riot the past spring).

Blake coached the Canadiens for thirteen years, winning the Stanley Cup eight times — the most titles for any coach in the team's history, the most with one team, and second-most league-wide behind Scotty Bowman, who won nine Stanley Cups in total (five Cups with the Canadiens, one with the Pittsburgh Penguins, and three with the Detroit Red Wings.) His 500 regular-season wins are still the most in Canadiens history. Notably, he won championships in each of his first five seasons as a head coach, this streak being an NHL record that stands to this day. The only other person to have performed a similar feat in his first five seasons as a coach or manager of any particular team in North American professional sports is Casey Stengel of the New York Yankees, although unlike Blake's case the Yankees were not the first team Stengel managed.

Blake retired after the Habs clinched the Cup in game four of the 1968 Finals, ending 33 consecutive years at ice level with the Canadiens organization.

Blake turned down Jacques Plante's request to wear a mask during games for fear that it would impair his vision. However, after a shot from Rangers player Andy Bathgate broke Plante's nose in a game on November 1, 1959, Blake finally relented.

Personal life
Born in what is now the ghost town of Victoria Mines, Blake was raised playing outdoor hockey in the town of Coniston near the city of Sudbury in Northern Ontario.

His nickname came from a childhood experience: his younger sister had difficulty pronouncing his name, rendering it as something like "Hec-toe". Thus, the nickname "Toe" arose, and ultimately replaced the nickname he had been given as a scorer, the Old Lamplighter, because he often activated the light behind the goal.

After retiring from the Canadiens, Blake and his family resided permanently in Montreal. In 1952, he opened Toe Blake's Tavern, at the corner of Guy Street and Saint Catherine Street in Montreal, just a few blocks from the Montreal Forum. The tavern closed in 1983.

Blake suffered from Alzheimer's disease in his final years. When respected writer Red Fisher visited him in the nursing home in 1989, Blake could not recognize his old friend. Blake died on May 17, 1995, at the age of 82.

He was the uncle of Mike Blake.

Legacy
Blake was elected to the Hockey Hall of Fame in 1966 in the player category, and was made a Member of the Order of Canada in 1982. A park located next to his Montreal West home is named in his honour.

In 2011, the community centre in Blake's hometown of Coniston, Ontario, was renamed the "Toe Blake Memorial Arena" in his honour.

Regular season and playoffs

 * Source: Total Hockey

Awards

 * Stanley Cup champion — 1935 (with Montreal Maroons as a player)
 * Stanley Cup champion — 1944, 1946 (with Montreal Canadiens as a player)
 * Stanley Cup champion — 1956, 1957, 1958, 1959, 1960, 1965, 1966, 1968 (head coach of Montreal Canadiens)
 * Hart Trophy — 1939
 * Scoring Leader — 1939
 * Lady Byng Trophy — 1946
 * NHL first team All-Star — 1939, 1940, 1945
 * NHL second team All-Star — 1946
 * In January, 2017, Blake was part of the first group of players to be named one of the '100 Greatest NHL Players' in history.

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Terry Kilburn

Terence E. Kilburn (born 25 November 1926), known for his acting work prior to 1953 as Terry Kilburn, is an English-American actor. Born in London, he moved to Hollywood in the U.S. at the age of 10, and is best known for his roles as a child actor during the Golden Age of Hollywood, in films such as A Christmas Carol (1938) and Goodbye, Mr. Chips (1939) in the late 1930s and the early 1940s.

Early life
Kilburn was born in 1926 in West Ham, Essex, in Greater London to working-class parents Tom and Alice Kilburn.

He did some unpaid acting as a young child, and an agent encouraged him to go to Hollywood. Kilburn and his mother immigrated to the U.S. in 1937, and his father arrived the following year. A talent scout for MGM discovered him rehearsing for Eddie Cantor's radio show, and he was cast in the British-set film Lord Jeff (1938).

Hollywood and Broadway
Known for his innocent, dreamy, doe-eyed look, Kilburn achieved fame at the age of 11 portraying Tiny Tim in the 1938 Metro-Goldwyn-Mayer film version of A Christmas Carol, and also as four generations of the Colley family in Goodbye, Mr. Chips (1939).

As a child actor, Kilburn also played leading roles in two films which starred Freddie Bartholomew: Lord Jeff (1938) and Swiss Family Robinson (1940). He was featured in The Adventures of Sherlock Holmes (1939) with Basil Rathbone. In addition to Lord Jeff (1938), Kilburn worked alongside Mickey Rooney in Andy Hardy Gets Spring Fever (1939), A Yank at Eton (1942), and National Velvet (1944). In 1946 he was Joe, the horse's groom, in Black Beauty. In his early 20s, in 1947 and 1948, he was in four back-to-back Bulldog Drummond films, as Seymour, a reporter; and in 1950 he had small roles in two seagoing films.

After high school, Kilburn concentrated on stage work, and studied drama at UCLA. He made his Broadway debut, credited as Terrance Kilburn, portraying Eugene Marchbanks in a 1952 revival of George Bernard Shaw's Candida. He thereafter remained committed to live performances, as both actor and director.

After 1952, Kilburn was credited on screen as Terence Kilburn. His final feature film role was a small part in Lolita (1962). Between 1951 and 1969, he was also in nearly a dozen teleplays, television movies, and television series episodes.

After Hollywood
From 1970 to 1994, Kilburn was artistic director of Oakland University's Meadow Brook Theatre in Rochester, Michigan. Meadow Brook Theatre is Michigan's only LORT theatre. It presents classic plays, comedies, and musicals, and is known for its annual production of Dickens' A Christmas Carol, adapted by Kilburn's partner, Charles Nolte.

Personal life
Since 1994 Kilburn has resided in Minneapolis, Minnesota. His partner of over 50 years, actor Charles Nolte, died in January 2010.

title: Terry Kilburn


text: Category:Cities and towns in India

title: Category:Cities and towns in India


text:
Talk:Khoo Swee Chiow

Needing Attention
Could we have a quick summary of what needs attention on this page?--Malbear 10:35, 19 Dec 2004 (UTC)
 * The article needs to be referenced from reliable sources and the superlatives that are claimed should be footnoted. cheers Deconstructhis (talk) 21:43, 16 February 2009 (UTC)

External links modified
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title: Talk:Khoo Swee Chiow


text:
User talk:Ariem~enwiki

Bands in the "Thunderbirds" video
As a general point, it'd be handy if you could actually keep your comments on my talk page, rather than removing them after they were added. I have no objection to them being there, and it serves as a useful reference that later on I can look and say "Oh yes, that's right. Ariem told me such-and-such", without needing to hunt through the page history for deleted comments. You can obviously do whatever you want with my comment here, but I'd prefer anything on my page to stay there.

More importantly, do we actually have a name here or there which could be googled or wiki'd in order to confirm that there are indeed real bands in the video? BigHaz 10:40, 19 Dec 2004 (UTC)

At the same time, unless you're one of the previously-anonymous IP numbers who were updating the page, then no you weren't updating it at all. BigHaz 10:42, 19 Dec 2004 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Ariem. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Ariem~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 22:11, 19 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 10:37, 22 April 2015 (UTC)

title: User talk:Ariem~enwiki


text:
The Wind from the Sun

The Wind from the Sun (ISBN 0-15-196810-1) is a 1972 collection of science fiction short stories by British writer Arthur C. Clarke. Some of the stories originally appeared in a number of different publications. A part of the book was included in CD on board the Planetary Society's solar sail, Cosmos 1.

Contents
This collection includes:
 * Preface
 * "The Food of the Gods"
 * Back cover teaser: "ON EARTH—In a world where man frowns upon his carnivorous ancestors and thrives upon entirely synthetic food, cannibalism becomes the question of the day."

 * "Maelstrom II"
 * An astronaut father looks forward to returning home to his family on Earth, but is met by a life-threatening accident.

 * "The Shining Ones"
 * Sabotage is suspected at a coastal Soviet base, where a revolutionary thermal electric technology is to be announced to the world within a matter of days.

 * "The Wind from the Sun"
 * Back cover teaser: "IN SPACE—Space-sailing anyone? Come ride the sun's winds in the interstellar sailing contest of the century!" Problems arise for the competitors during this race to the moon.

 * "The Secret"
 * Something fishy is going on in a laboratory on the Moon... An inspector presses a scientist for the truth about the Moon and mankind's longevity.

 * "The Last Command"
 * The supreme commander of a superpower issues his final command via a pre-recorded message after he and the entire nation had been completely annihilated.

 * "Dial F for Frankenstein"
 * A tech-crew discuss the strange happenings since they have linked the world's telecommunications system with a satellite network.

 * "Reunion"
 * A message from extra-terrestrials, addressed to the people of Earth, speaking of the origins of mankind and a cure for skin color.

 * "Playback"
 * A monologue of a man's consciousness which had been preserved on magnetic tape.

 * "The Light of Darkness"
 * An assassin plots to remove the dictator of his African country.

 * "The Longest Science-Fiction Story Ever Told"
 * A recursive letter complaining about plagiarism.

 * "Herbert George Morley Roberts Wells, Esq."
 * Clarke's commentary about why he had confused "The Anticipator" with "The Accelerator". For a period of time Clarke believed that "The Anticipator" had been authored by H. G. Wells, and had even published this false fact, until a fan of Wells pointed out the error.

 * "Love That Universe"
 * A scientist believes that the Earth is in peril and that the civilization living in the central hub of our galaxy is our only hope. But, how will we contact them?

 * "Crusade"
 * In a world that does not orbit any star, an intelligent but non-biological being searches for other life in the universe like itself.

 * "The Cruel Sky"
 * A scientist, who was born crippled, climbs Mount Everest with the aid of his levitation invention and with the guidance of his promising assistant. However, soon after beginning their descent from the summit, gale-strength winds blow them and their levitators off the face of the mountain.

 * "Neutron Tide"
 * A commander explains, in a letter, how an Earth battleship got destroyed when it passed too close to the gravitational field of a neutron star.

 * "Transit of Earth"
 * The last surviving astronaut of the first crewed landing on Mars works to complete his observations and recordings of Earth's transit across the face of the Sun. He and four others were marooned when permafrost melted underneath the landing craft and it toppled over. The others committed suicide to ensure him surviving to make these observations and he contemplates how he will commit suicide after the transit is over.

 * "A Meeting with Medusa"
 * Back cover teaser: "AMONG THE PLANETS—Weather the hydrogen storms of Jupiter with Howard Falcon (once a man now a cyborg) as he goes where no man has ever gone before!"

title: The Wind from the Sun


text:
User:Animated Cascade/monobook.css

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The Bugs Bunny Show

The Bugs Bunny Show is a long-running American animated anthology television series hosted by Bugs Bunny that was mainly composed of theatrical Looney Tunes and Merrie Melodies cartoons released by Warner Bros. between 1948 and 1969. The show originally debuted as a primetime half-hour program on ABC in 1960, featuring three theatrical Looney Tunes cartoons with new linking sequences produced by the Warner Bros. Cartoons staff.

After two seasons, The Bugs Bunny Show moved to Saturday mornings, where it aired in various formats for nearly four decades. The show's title and length changed regularly over the years, as did the network: both ABC and CBS broadcast versions of The Bugs Bunny Show. In 2000, the series, by then known as The Bugs Bunny & Tweety Show, was canceled after the Looney Tunes and Merrie Melodies libraries became the exclusive property of the Cartoon Network family of cable TV networks in the United States. In January 2021, the retro-formatted network MeTV revived the show under the title Bugs Bunny and Friends, as the third hour of a Saturday morning block of classic cartoons.

In Canada, Reruns of The Bugs Bunny and Tweety Show were aired on the channels Teletoon and Teletoon's sister channel, Teletoon Retro (until 2015 when Teletoon Retro signed off). Prior to Teletoon and Teletoon Retro, CBC Television (1960–1975) and Global Television Network (1978–1982, 1990–2000) aired the show. In Australia, episodes of the show were divided between three networks, with most episodes aired on Nine Network, and some episodes divided between Network Ten, and Seven Network since its debut. In Poland, the show aired on TVP1 from 1979 till 1980 and again from 1991 till 1992. In Asia, the program was aired in Japan and South Korea in the early 1960s and also aired on ABS-CBN and RPN in the Philippines, it was also aired on TPI (now MNCTV) from mid 1990s to early 2000s and RCTI during 2000s in Indonesia as well.

The Bugs Bunny Show in prime time, 1960-1962
The original Bugs Bunny Show debuted on ABC prime time in the United States on October 11, 1960, airing on Tuesdays at 7:30 PM ET, under the sponsorship of General Foods (Post cereals, Tang, etc.). Newly produced linking segments were done for each episode by the Warner Bros. animation staff. Chuck Jones and Friz Freleng produced, directed, and created the storyboards for the earliest of these, with Robert McKimson later taking over the direction while Jones and Freleng continued producing and writing. The wraparounds were produced in color, although the original broadcasts of the show were in black-and-white. A total of 52 episodes were made.

Rather than display the full Warner Bros. logo and opening title/credits sequence of each cartoon shown in each episode (as shown in the original theatrical versions and could take up to 20 seconds), new title cards were created to begin each cartoon, and displayed for only about five seconds over a newly composed musical cue; the card omitted the Warner Bros. logo and any detailed credits of the animators, and simply featured the title of the cartoon in bold letters on a plain background, the main character of the cartoon standing off to one side, and the copyright notice of the cartoon rendered in a smaller font at the bottom, before cutting directly to the opening scene of the cartoon, these cuts were sometimes awkward depending on how the original opening sequence was animated. A general credits line was shown at the end of each full episode: "Stories, Animation, layouts, and backgrounds: Members of Motion Picture Screen Cartoonists Local 839." (The Looney Tunes and Merrie Melodies cartoons syndicated to local stations as a package, beginning in the 1950s, generally retained the original opening title sequences as shown in theaters. The current revival of the show on MeTV also uses the original theatrical title cards.)

The show's theme song was "This Is It", written by Mack David and Jerry Livingston ("Overture/curtain, lights/this is it/the night of nights..."). The opening title sequence, animated by Freleng unit animator Gerry Chiniquy, features Bugs and Daffy Duck performing the song in unison. For the final chorus, a lineup of Looney Tunes characters joins Bugs and Daffy onstage (Porky Pig, however, is absent from the procession, although Porky had a spin-off show based on the original Bugs Bunny Show 4 years later titled The Porky Pig Show which aired on ABC from 1964 to 1967).

The Bugs Bunny Show proved beneficial to the Warner Bros. cartoon staff, as it allowed the studio to remain open despite the shrinking market for theatrical animated shorts. The final first-run episode of the original Bugs Bunny Show aired on August 7, 1962, and the Warner Bros. animation studio closed the following spring.

The move to Saturday mornings, 1962–1985
ABC began re-running The Bugs Bunny Show on Saturday mornings in April 1962 until September 1967 when it was moved to Sunday mornings for the remainder of its run. The series was rerun in color beginning in 1965, and remained on ABC until September 1968. At this point, the series switched to CBS, where it was combined with The Road Runner Show (which had aired on CBS since 1966) to create The Bugs Bunny/Road Runner Hour. The standard Bugs Bunny Show opening and the announcer's introduction of Bugs Bunny ("that Oscar-winning rabbit!") were directly followed by the rabbit's saying, "...and also starring my fast feathered friend, the Road Runner", after which The Road Runner Show's theme was played. The Bugs Bunny/Road Runner Hour combined re-edited bridging sequences from both shows to link the seven cartoons featured in each episode. The bridging sequences would be edited further in later versions of the Bugs Bunny/Road Runner Hour.

In 1971, The Road Runner Show moved to ABC, and a reconstituted half-hour Bugs Bunny Show aired on CBS, featuring re-edited versions of the bridging sequences and a different grouping of cartoons. In 1973, The Bugs Bunny Show returned to ABC for two seasons, only for CBS to re-acquire both shows and bring back The Bugs Bunny/Road Runner Hour in 1975. In 1976, Sylvester and Tweety were featured in their own Sylvester and Tweety Show for one year, necessitating the removal of most of the Tweety and/or Sylvester cartoons on Bugs Bunny/Road Runner that season. Also that year, a weekly half-hour prime-time edition of The Bugs Bunny/Road Runner Show briefly aired on CBS' Tuesday night schedule from April through June.

The Bugs Bunny/Road Runner Hour became The Bugs Bunny/Road Runner Show in November 1977 after CBS added another half-hour to the runtime. In 1981, a companion Sylvester & Tweety, Daffy, and Speedy Show was added to the CBS schedule, which included a number of later cartoons produced by a reestablished Warner Bros. Cartoons studio from 1967 to 1969. The following year, this new companion series was canceled, and its cartoons were incorporated into The Bugs Bunny/Road Runner Show, which was broadcast as two separate hour-long programs on Saturday mornings (for the second program, the show's opening titles were re-animated). In 1983, CBS returned the show to 90 minutes and the bridging sequences were dropped. The following year, the "This Is It" opening was jettisoned altogether; a new title sequence (created from clips of the cartoons) and new theme song ("It's Cartoon Gold"), composed by Steve Zuckerman with lyrics by John Klawitter, introduced the show.

Final Saturday morning years, 1985–2000
CBS gave up the rights to broadcast the Warner Bros. cartoons following the 1984–1985 season, and as a result, the show moved back to ABC, where it became The Bugs Bunny/Looney Tunes Comedy Hour. Cartoons featuring Tweety or Speedy Gonzales were not broadcast on ABC during the 1985–86 season, the latter presumably due to Mexican stereotypes. The following year, however, Tweety cartoons were added to the program, which was reduced to a half-hour and renamed The Bugs Bunny & Tweety Show. Beginning with its third season, The Bugs Bunny & Tweety Show was expanded to a full hour, and the original "This Is It" theme was reintroduced with similar animation as the original, accompanied by the introductory sequence introduced in 1982. Another version of the "This Is It" opening sequence was done in 1992 with different character animations.

Though the program did not qualify for the educational/informational designation, it nonetheless remained on Saturday mornings after the new designation debuted in 1996, one of the few non-E/I programs to survive the rules changes. The previous year, ABC was bought by The Walt Disney Company, and The Bugs Bunny & Tweety Show was the only non-Disney cartoon to remain on the lineup, due to their contract not being up yet, and was in the first few years of the Disney's One Saturday Morning block starting in 1997 (with the Disney logo omitted from the blocks bumpers during the show). The program was often paired with ABC's in-house Schoolhouse Rock! shorts during this time.

The hour-long Bugs Bunny & Tweety Show remained on the air until 1999, when it was again reduced to a half-hour. In 2000, Warner Bros. made the Looney Tunes and Merrie Melodies film library exclusive to Cartoon Network, which Time Warner owned as part of the purchase of Turner Broadcasting in 1996. As a result, The Bugs Bunny Show ended its nearly four-decade-long network run, one of the longest runs in the history of United States network television. Outside cartoons in the public domain, Warner Bros. cartoons would not return to American broadcast television until the 2021 debut of Toon In with Me on MeTV, along with a companion Saturday morning block.

Legacy
This show is credited for keeping the Warner Bros. cartoons made during the Golden Age of American animation a part of the American consciousness. Indeed, the show ran for almost four decades, and helped inspire animators, comedians, historians, and others who watched Saturday morning television.

The "This Is It" song's fame is such that it has been used elsewhere, such as in the Canadian province of Ontario where it was used in a TV commercial promoting the various performing arts tourist attractions where artists of various disciplines sing separate lines of the song.

When Warner Bros. released its video series "Golden Jubilee", featuring the classic cartoons, the opening sequence shows the Tasmanian Devil maniacally riding a motorcycle down a city street, chased by a police car. He makes a sharp turn into a theater, where the rest of the Looney Tunes are performing to the Bugs Bunny Show tune.

Beginning in January 2021, the original "This Is It" opening sequence was included in Bugs Bunny and Friends, part of MeTV's Saturday Morning Cartoons block.

Animated sequences produced for the show
A series of short animated scenes were produced for the show, featured "linking" moments during the fictional theater setting of the show. Some of these scenes included:
 * The opening teaser showed Bugs Bunny and Daffy Duck performing a duet about the start of the cartoon show; as they sing it, in the background crossing the stage are some of co stars' regulars:Tweety Bird; Speedy Gonzales; Pepé Le Pew; Sylvester the Cat; Road Runner; Hippety Hopper (aka Giant Mouse); Yosemite Sam; Elmer Fudd; Wile E. Coyote; Foghorn Leghorn.
 * A frustrated Daffy Duck bickering on stage with Bugs Bunny. Daffy declares, "Last week you said you were going to introduce me next week!" Bugs replies, "Right...but this isn't next week, is it?"  Daffy trips himself up and replies, "You're doggone tootin' is isn't! This is this week! And next week is uhhh...ummm...sheesh!"
 * A barking sheepdog wanders into the theater, saying "Which way did he go? Where's the little bunny I saw on TV last week?" Daffy, at this time, has dressed up in a rabbit costume and is on stage pretending to be Bugs. The sheepdog pounces upon Daffy and exclaims, "At last, at last!  I have caught a bunny rabbit!"
 * Bugs entertains the audience by playing a guitar. An angry Yosemite Sam barges in the theater shouting, "Can't ya see I'm tryin' to sleep?!?", snatches the guitar from Bugs, and snaps all of its strings but one.
 * Bugs demonstrates some cartoon physics, including slow motion, fast speed and "vibrating to a stop."

The show's title sequences and some of these linking material scenes from the original Bugs Bunny Show are included as bonus features on each volume of the Looney Tunes Golden Collection DVD collection (with the exception of Volume 6). As the original color negatives were cut up by CBS and ABC to create later versions of the show, the linking sequences are presented on DVD using a combination of footage from both what's left of the color negatives (some of which were used in later incarnations, thus helping to preserve them) and the black-and-white ABC broadcast prints prepared in the early 1960s.

On the Looney Tunes Golden Collection: Volume 2, the opening to the Bugs Bunny/Road Runner Show (with the announcer calling it the Bugs Bunny/Road Runner Hour) and two openings to the Bugs Bunny and Tweety Show (the 1988 opening and the 1992 opening) were released as special features.

In 2009, an episode of the Bugs Bunny Show in color was released on the Saturday Morning Cartoons 1960s Volume 2 set. Saturday Morning Cartoons 1970s Volume 2 includes an episode of the Bugs Bunny/Road Runner Show.

Formats
Prime Time:
 * The Bugs Bunny Show, October 11, 1960 – August 7, 1962 (ABC)

Saturday Mornings:
 * The Bugs Bunny Show, April 7, 1962 – September 8, 1968 (in color starting September 10, 1966) (ABC)
 * The Bugs Bunny/Road Runner Hour, September 14, 1968 – September 4, 1971 (CBS)
 * The Bugs Bunny Show, September 11, 1971 – September 1, 1973 (CBS)
 * The Bugs Bunny Show, September 8, 1973 - August 30, 1975 (ABC)
 * The Bugs Bunny/Road Runner Hour, September 6, 1975 – November 12, 1977 (CBS)
 * The Bugs Bunny/Road Runner Show, November 19, 1977 – September 7, 1985 (CBS)
 * The Bugs Bunny/Speedy Gonzales/Porky Pig Show, September 5, 1981 - December 31, 1983 (CBS)
 * The Bugs Bunny/Looney Tunes Comedy Hour, September 7, 1985 – September 6, 1986 (ABC)
 * The Bugs Bunny & Tweety Show, September 13, 1986 – September 2, 2000 (ABC)

Credits

 * Senior Directors: Chuck Jones, Friz Freleng, Robert McKimson
 * Co-directors: Hawley Pratt, Gerry Chiniquy, Art Davis, Abe Levitow, Maurice Noble, Alex Lovy, David Detiege, Rudy Larriva, Tom Ray
 * Stories, Animation, layouts, and backgrounds: Members of Motion Picture Screen Cartoonists Local 839
 * Music: Carl W. Stalling, Milt Franklyn, John Seely, William Lava, William L. Hendricks, Walter Greene, Eugene Poddany, Doug Goodwin, Rob Walsh, Quinn Amper, Fred Strittmatter, Dean Elliot
 * The Bugs Bunny Show Opening and Closing Theme: "This Is It" by Mack David & Jerry Livingston
 * Film Editors: Treg Brown, Hal Geer, Fred Farrell, Chuck McCann, Jim Champin, Lee Gunther
 * Producers: Chuck Jones, Friz Freleng, David H. DePatie
 * Executive Producers: Chuck Jones, Friz Freleng, David H. DePatie, William L. Hendricks
 * Cast: Mel Blanc, Stan Freberg, June Foray, Hal Smith, and Arthur Q. Bryan

title: The Bugs Bunny Show


text:
Talk:Guardian of Zion Award

Who gives the award? Does the award-giver has an official website with citations for the the awards? MathKnight 10:42, 19 Dec 2004 (UTC)
 * Bar-Ilan University does. Couldn't find an official website for the award though pm_shef 02:53, 9 November 2005 (UTC)

Ruth Wisse
Why no article for Ruth Wisse? --70.48.68.155 06:50, 4 May 2007 (UTC)

title: Talk:Guardian of Zion Award


text:
Wikipedia:Articles for deletion/Famish catering

Famish catering
Stub for Sydney, Australia catering, web design and search engine promotion company not likely to be notable. Samaritan 10:42, 19 Dec 2004 (UTC)

 * Delete. Consists only of a website link, which I have delinked, and a claim that this organisation exists. It does not appear in the Sydney telephone directory. I suspect it may be a web design exercise by a student. Andrewa 16:27, 19 Dec 2004 (UTC)
 * Speedy Delete, as stub without context. Wyss 18:30, 19 Dec 2004 (UTC)
 * Delete, but doesn't meet speedy delete criteria. I will remove the speedy notice.-gadfium (talk) 07:54, 20 Dec 2004 (UTC)
 * Delete, not notable  --fvw *  08:20, 2004 Dec 20 (UTC)


text: User talk:62.151.100.38

title: User talk:62.151.100.38


text:
Indexation

Indexation is a technique to adjust income payments by means of a price index, in order to maintain the purchasing power of the public after inflation, while deindexation is the unwinding of indexation. It is often used to make sure regular payments, such as pension payments keep pace with inflation, so that they have the same value in real terms over time.

Overview
From a macroeconomics standpoint there are four main categories of indexation:

 * 1) wage indexation,
 * 2) financial instruments rate indexation,
 * 3) tax rate indexation, and
 * 4) exchange rate indexation.

The first three are indexed to inflation. The last one is typically indexed to a foreign currency, mainly the US dollar. Any of these different types of indexation can be reversed (deindexation).

Applying a cost-of-living escalation COLA clause to a stream of periodic payments protects the real value of those payments and effectively transfers the risk of inflation from the payee to the payor, who must pay more each year to reflect the increases in prices. Thus, inflation indexation is often applied to pension payments, rents and other situations which are not subject to regular re-pricing in the market.

COLA is not CPI, which is an aggregate indicator. Using CPI as a COLA salary adjustment for taxable income fails to recognize that increases are generally taxed at the highest marginal tax rate whereas an individual's rising costs are paid with after-tax dollars - dollars commensurate with an individual's average after-tax level. Indexing tax brackets does not address this fundamental issue but it does effectively eliminate "bracket-creep". Indexation has been very important in high-inflation environments, and was known as monetary correction "correção monetária" in Brazil from 1964 to 1994. Some countries have cut back significantly in the use of indexation and cost-of-living escalation clauses, first by applying only partial protection for price increases and eventually eliminating such protection altogether when inflation is brought down to single digits.

Protecting one of the parties from the risk of inflation means that the price risk must be shifted to another party. For example, if state pensions are adjusted for inflation, the price risk is passed from the pensioners to the taxpayers.

Wages
When a government decides to index wages of government employees to inflation it is to transfer the risk of inflation away from government workers onto the government. Such a policy is to attempt to reduce inflationary expectation and in turn inflation when it is rising rapidly. Research by economists is ambivalent on the success of such policies. Some have deemed it a success including Friedman (1974), Gray (1976), and Fischer (1977). Others have considered it less successful as they observed that indexation breeds inflation inertia (a reduction in the government and the central bank's effort in fighting inflation leading to inflation rate remaining higher than targeted). This perspective is supported by Bonomo and Garcia (1994).

The economists diverging opinions on the merit of indexation often depend on what data they looked at. A given country over a specific time series may have been successful conducting indexation. While another country at another time may have been less successful. Some economists believe there are appropriate times for indexation (when inflation is really high) and times for deindexation (when inflation has moderated after indexation, but remains still too high vs the central bank's inflation target).

In recent years Brazil, Chile, Israel, and Mexico have implemented successful inflation fighting campaigns by implementing the deindexation of wages (Lefort and Schmidt-Hebbel, 2002).

Debt
The indexation of government debt to inflation is related to transferring the inflation risk from depositors to the government in an attempt to reduce inflation. Some governments have ultimately subjected their short-term debt instruments to deindexation so their central bank could regain control of short-term interest rates from a monetary policy standpoint and be in a better position to fight inflation. Another objective of indexation, for certain governments with already low inflation rate, is to reduce their borrowing cost by paying lower interest rates to depositors in exchange for assuming inflation risk. Both the UK and the US have issued inflation indexed government bonds to reduce their borrowing costs. When governments such as the UK and the US issue both inflation indexed bonds and regular nominal bonds, it gives them precise information on inflation expectation by observing the difference in yields between the two types of bonds. Robert Shiller has done extensive research on all mentioned aspects of government bond indexation.

Tax rate
The indexation of tax rate is to avoid an increase in effective and marginal tax rates due to inflation pushing taxpayers taxable income into higher tax brackets even though their pre tax purchasing power has not changed. Tax codes of various countries can be very complicated. As a result, certain types of taxes may be partially or entirely subject to deindexation even though the main tax rate structure is not. This is the case in the US where the standard tax rate is indexed to inflation. But, its parallel Alternative Minimum Tax (AMT) code is not. As a result, a rising share of the taxpayers’ population is anticipated to become liable under the AMT which was originally implemented to tax only the very rich.(On January 2, 2013, President Barack Obama signed the American Taxpayer Relief Act of 2012, which indexes to inflation the income thresholds for being subject to the tax.[1]) In Canada, a recent reduction in tax rate was in part countered by a partial deindexation of certain credits (the credits were adjusted upward by the inflation rate – 3%).

Currency
The indexation of currency or exchange rate often refers to a country pegging its currency to the US dollar. In other words, such a country's central bank would buy or sell dollars so as to maintain a stable exchange rate with the dollar. Such a policy has been adopted by several Asian countries including China. If not for the mentioned pegging, the currencies of these countries would rise against the dollar as a result of the US chronic current account deficit with such countries. But, the Asian countries have a vested economic interest in keeping US demand for their exports high. That's where the pegging of their currency to the US dollar comes in. Often the pegging conducted by central banks is pretty discrete and not disclosed in any formal policy statement. The pegging also can be pretty elastic. A central bank will maintain an exchange rate within a deemed acceptable range instead of at a specific level. Over time, the acceptable range may broaden or narrow depending on such a country's economy overall reliance on exports to fuel growth. Thus, it is challenging to clearly observe the deindexation of a currency.

title: Indexation


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Philippe Senderos

Philippe Sylvain Senderos (born 14 February 1985) is a Swiss retired professional footballer who played as a defender.

Senderos began his career at Servette, before moving to England as a teenager with Arsenal. He made 116 appearances over seven seasons with the North London club, and won the FA Cup in 2005. Following loans to Milan and Everton, he then moved to Fulham on a free transfer in 2010, where he played for four seasons. Senderos then had brief spells at clubs in Spain, England, Scotland, Switzerland and the United States.

A full Swiss international from 2005 to 2016, Senderos won 57 caps and scored 5 goals. He was included in the Swiss squads for three FIFA World Cups and at UEFA Euro 2008.

Servette
Senderos came up through the youth team set up at Swiss club Servette. After a few appearances in his first season, he soon became a regular player in the first team. On 27 July 2002, Senderos scored a brace (and his first goal) in a 2–0 win over Luzern. Senderos signed for Arsenal in December 2002, though he remained working at Servette until the following summer. Shortly after joining Arsenal, Senderos' father and agent said Senderos rejected a move to Real Madrid in favour of joining Arsenal. Senderos himself claimed he made the right decision joining the Gunners.

Arsenal
Shortly after joining Arsenal, Senderos' start did not come as planned after he suffered a recurrence of a back problem for six weeks and another injury on a fractured bone in his foot, leaving him out for the rest of the season. During the season, Arsenal went undefeated and won the league.

Senderos was an unused substitute when Arsenal won the Community Shield against Manchester United ahead of the 2004–05 season. He made his debut as a starter in a 2–1 win against Manchester City in the third round of the League Cup on 27 October 2004, and played his first Premier League match on 1 January 2005 as an 82nd-minute substitute for the injured Sol Campbell. Profiting from Campbell's injury, Senderos finished his first Premier League season with 13 appearances. Despite Campbell's recovery, Senderos played the 2005 FA Cup final in his place, and won his first piece of silverware as Arsenal triumphed on penalties after a 0–0 draw with Manchester United.

After the season, Senderos committed his long-term future by signing an improved five-year deal. In the 2005 FA Community Shield, he was beaten by Didier Drogba for both goals as Arsenal lost 2–1 to Chelsea. During the 2005–06 season, he scored his first Arsenal goal in a 2–1 loss to West Bromwich Albion on 15 October, and again in a 7–0 win over Middlesbrough on 14 January. He played in Arsenal's run to the final of the UEFA Champions League in 2005–06, but was an unused substitute in the final, which Arsenal lost to Barcelona.

On 29 November 2006, Senderos was sent off for the first time in his career, in the 66th minute of Arsenal's 2–1 loss at Fulham for two bookings for offences on Luís Boa Morte. Later in the season, on 3 February 2007, he was sent off for the second time, a straight red card for a foul in the penalty box on Middlesbrough striker Yakubu.

Senderos received his third red card on 2 September 2007 after denying Nwankwo Kanu of Portsmouth a clear goalscoring opportunity, although Arsenal went on to win 3–1. In his last full season at the club (2007–08), Senderos added 2 more goals from 17 Premier League appearances: in a 3–2 win against Sunderland on 7 October and the fourth minute of a 2–0 win over Blackburn Rovers on 11 February.

Loan to AC Milan
Senderos eventually fell out of favour with Arsenal manager Arsène Wenger. On 27 August 2008, he joined Italian club AC Milan on a season-long loan. Senderos described joining Milan as a "dream come true". He quickly incurred an injury and struggled to make the first team ahead of centre-backs Paolo Maldini and Kakha Kaladze, but finally made his first full appearance for the Rossoneri in a UEFA Cup group stage match against Braga, and came on as a substitute for his first Serie A appearance, against Fiorentina, approximately halfway through the season. Despite wanting his move at Milan to be permanent, Senderos returned to Arsenal after 14 Serie A appearances.

Loan to Everton
Senderos made only two appearances for Arsenal in 2009–10, both in the League Cup, and on 25 January 2010, he joined Everton on loan for the remainder of the season, where he wore the number 23, vacated by the departure of Lucas Neill. He made his first appearance for the club in a 1–0 win away against Wigan Athletic. He returned to Arsenal at the end of the season having made only three appearances, two in the Premier League and one in the UEFA Europa League.

Fulham and Valencia
On 8 June 2010, Senderos signed a three-year deal with Fulham on a free transfer. On 9 August, while training, Senderos tore his Achilles tendon, keeping him out for six months. He underwent surgery and was expected to be out for 6 months. He finally made his debut for Fulham on 30 April 2011 against Sunderland. On 21 April 2012, he scored his first Premier League goal since joining Fulham as they defeated Wigan Athletic 2–1 at Craven Cottage.

On 1 March 2013, Senderos signed a one-year contract extension, keeping him at the West London club until June 2014. On 21 October 2013, he scored a goal in a 4–1 win over Crystal Palace.

On 31 January 2014, Senderos joined Valencia from Fulham with just hours remaining before the transfer window was due to close. He made his Valencia debut on 8 February 2014, playing 81 minutes in the 5–0 home win over Real Betis in a La Liga match, and scored his first goal (a header) on 13 March in the 3–0 away victory over Bulgarian champions Ludogorets Razgrad in the first leg of the round of 16 of the UEFA Europa League.

Aston Villa
On 5 June 2014, Senderos joined Aston Villa on a two-year contract. He was signed by Paul Lambert, who said in the run-up to the 2014 FIFA World Cup, "This will be Philippe's third World Cup finals and there aren't too many players who compete at that level over that stretch of time. He'll be a great addition to the group." He made his Premier League debut for Villa in a 1–0 win at Stoke City on 16 August, playing the full 90 minutes.

On 3 September 2015, it was announced Senderos had been omitted from Aston Villa's 25-man squad for the first half of the 2015–16 Premier League season. The following 27 January 2016, he left the club by mutual consent.

Grasshoppers and Rangers
On 29 January 2016, just days after being released by Aston Villa, Senderos returned to his native Switzerland to sign for Grasshoppers on a six-month contract.

After being released by Grasshoppers, Senderos signed for Scottish Premiership team Rangers on a one-year deal on 31 August 2016, following a lengthy trial period. Upon signing, he said it was a "no-brainer" to join such a big club. Senderos was sent off on his debut for Rangers, a 5–1 defeat at Celtic in the Old Firm match on 10 September. Senderos was released in May 2017.

Houston Dynamo and Chiasso
On 7 August 2017, the Houston Dynamo of Major League Soccer (MLS) announced they had signed Senderos. Senderos made just two appearances in the regular season for a Dynamo squad that finished fourth in the Western Conference. However, injuries to first choice defenders A. J. DeLaGarza and Leonardo opened the door for Senderos to play for Houston in the postseason. Senderos was given the captain's armband by manager Wilmer Cabrera in the second leg of Houston's semi-final matchup away to the Portland Timbers, which Houston won 2–1 to advance to the Western Conference Finals.

Senderos scored in a 4–0 over Atlanta United in the 2018 season opener. However, he picked up a hamstring injury the next week that made him miss 10 games. On 3 July, Senderos scored in the 96th minute to give the Dynamo a 2–2 draw with LAFC. During the next game Senderos got a brace to lead Houston to a 3–0 win over Minnesota United. He would appear in every game of the 2018 U.S. Open Cup as he helped the Dynamo win their first such title in club history. He picked up a hamstring injury in the final that forced him to miss the rest of the season. His contract expired at the end of the 2018 season and the Dynamo decided to not re-sign him.

On 10 September 2019, Senderos signed with Swiss Challenge League side Chiasso. He made his debut for Chiasso on 9 November in a 4–1 win over FC Wil. On 16 December, he announced his retirement from football.

International career

Senderos is a former youth international and has played at all levels of football from the under-15s upward for Switzerland, though he was also eligible to play for Spain or Serbia through his parents. He was captain of the Swiss under-17 squad that won the 2002 UEFA European Under-17 Championship.

Senderos made his full international debut on 26 March 2005 in Switzerland's 0–0 draw against France in Paris. On his fifth cap, away to Cyprus on 7 September 2005, he scored his first international goal by opening a 3–1 win. On 12 November 2005, he opened the scoring in Switzerland's win over Turkey in the play-offs. After playing in Switzerland's successful qualifying campaign, he was named in their 2006 FIFA World Cup squad. He started alongside Patrick Müller in all three of Switzerland's group matches, and scored the first goal of the 2–0 win in the third match, against South Korea. He broke his nose and suffered shoulder ligament damage in the match, which ruled him out of the remainder of Switzerland's World Cup campaign.

Senderos captained Switzerland for the first time on 6 February 2008, a 2–1 friendly defeat away to England in which he was substituted after 55 minutes for Stéphane Grichting. Senderos was also part of the Swiss squad at the UEFA Euro 2008 finals, appearing in all three group matches as the team failed to qualify for the knockout stages.

Senderos scored a brace in a 3–0 win away against Luxembourg in a 2010 World Cup qualifier on 10 October 2009, and was selected in the Swiss final squad for the 2010 World Cup. In the first match, where Switzerland shocked Spain 1–0, he was substituted in the 36th minute after injuring his ankle seriously in an accidental collision with teammate Stephan Lichtsteiner. Swiss head coach Ottmar Hitzfeld said after the match, "He has a sprained ankle, possibly a ruptured ligament. If that is the case, it would be very difficult to replace him."

Senderos was also chosen in the Swiss squad for the 2014 World Cup, his third World Cup. He made his first appearance in the second match, against France on 20 June 2014, replacing the injured Steve von Bergen after nine minutes, as Switzerland lost 5–2.

Senderos was omitted from the Switzerland squad for Euro 2016.

Personal life
Senderos is a child of Serbian (Zorica Novković) and Spanish (Julián Senderos) immigrants. His brother Julien was a professional basketball player until 2011. On 20 July 2009, Senderos married Sara, an English woman of Iranian descent. Senderos speaks seven languages: English, French, Serbian, Spanish, German, Italian and Farsi.

In 2012, Senderos was the victim of fake news from Turkey and Iran claiming that he had converted to Islam; he responded "That's not true. And I don't know where these rumours could have come from. I did a photo once [the one used by the websites] but that's all".

International

 * International goals
 * Scores and results list Switzerland's goal tally first.

Honours
Arsenal
 * FA Cup: 2004–05
 * FA Community Shield: 2004
 * Football League Cup runner-up 2006–07
 * UEFA Champions League runner-up: 2005–06

Houston Dynamo
 * U.S. Open Cup: 2018

Switzerland U17
 * UEFA European Under-17 Championship: 2002

Individual
 * Credit Suisse Player of the Year: 2006

title: Philippe Senderos


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Empty Souls

"Empty Souls" is a song by Welsh alternative rock band Manic Street Preachers. It was released in January 2005 by record label Epic as the second and final single taken from their seventh studio album, Lifeblood. The song debuted and peaked at number two on the UK Singles Chart and reached number 18 in Ireland.

Content
"Empty Souls" is said to be the political response from the band in relation to the September 11 attacks.

The single edit features a lyric that was changed from the album version. The chorus line on the album version runs "collapsing like the Twin Towers", but for the single it was changed to "collapsing like dying flowers". The backing vocals can still be heard to sing the original line, although this may have been kept in by mistake.

Music video
The music video for the song sees the band separated throughout, only to meet up at the end after treks through various parts of Berlin, Germany.

Release
"Empty Souls" was released on 10 January 2005 by record label Epic as the second and final single from the band's seventh studio album, Lifeblood. The single reached number two on the UK Singles Chart, missing out on becoming the 1,000th number one in UK chart history to the latest in a series of Elvis number-one single re-issues making the top of the charts at the time.

The DVD version of the single features two new songs which are both sung entirely by the band's bassist, Nicky Wire. The music for "Dying Breeds" is also entirely written by him, and the music for "Failure Bound" is the track "No Jubilees" played backwards. The video for "Dying Breeds" was directed by Wire's brother Patrick Jones, who made similar short videos for album tracks such as "1985".

Track listings
UK CD1
 * 1) "Empty Souls"
 * 2) "All Alone Here"

UK CD2
 * 1) "Empty Souls"
 * 2) "No Jubilees"
 * 3) "Litany"
 * 4) "Empty Souls" (video)

UK DVD single
 * 1) "Empty Souls" (video)
 * 2) Dying Breeds (short film)
 * 3) "Failure Bound"

title: Empty Souls