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Grauman's Chinese Theatre

The TCL Chinese Theatre, commonly referred to as Grauman's Chinese Theatre (its official name for much of its history), is a movie palace on the historic Hollywood Walk of Fame in the Hollywood neighborhood of Los Angeles.

The original Chinese Theatre was commissioned following the success of the nearby Grauman's Egyptian Theatre, which opened in 1922. Both were built as Exotic Revival style architecture. Built by a partnership headed by Sid Grauman over 18 months beginning in January 1926, the theater opened May 18, 1927, with the premiere of Cecil B. DeMille's The King of Kings. It has since been home to many premieres, including the 1977 debut of Star Wars, as well as many private events and three Academy Awards ceremonies. Among the theater's features are the concrete blocks set in the forecourt, which bear the signatures, footprints, and handprints of popular motion picture personalities from the 1920s to the present day.

Originally named Grauman's Chinese Theatre, it was renamed Mann's Chinese Theatre in 1973, and reverted to its original name in 2001. On January 11, 2013, Chinese electronics manufacturer TCL Corporation purchased the facility's naming rights for $5 million.

In 2013, the Chinese Theatre partnered with IMAX Corporation to convert the house into a custom-designed IMAX theater. The newly renovated theater seats 932 people and features one of the largest movie screens in North America.

History
In March 1923, a meeting occurred at the offices of Fox West Coast Theatres where Sid Grauman, Mary Pickford, Douglas Fairbanks, and several other executives discussed plans for a new US$1 million venue that would be dedicated to "the spoken drama" with films only being screened on rare occasions. Although the project called for immediate construction, it was ultimately shelved for three years. In that time, several of its aspects were altered, including a change in scope from play house to movie theater due to the increasing profitability of motion pictures.

Grauman, a theater mogul who previously founded the Million Dollar Theater and Egyptian Theatre, moved forward with the plans for a new venue in 1925. Looking to build along Hollywood Boulevard, he leased the site of actor Francis X. Bushman's mansion in a deal brokered by real estate developer Charles E. Toberman. In appreciation, a plaque was installed on the front of the theater dedicating it to Bushman.

Los Angeles-based architecture firm Meyer & Holler, which previously partnered with Grauman on the Egyptian, designed the "palace-type" Chinese Theatre. Raymond M. Kennedy served as principal architect on the project. In October 1925, local newspapers published an artist's impression of the planned theater's facade. The accounts promised a US$5 million cost as well as a "tropical garden" in the forecourt, complete with imported flowers, trees, and fish in ponds. In contrast to early reports, the theater cost $2.1 million to construct. Grauman co-owned the venue with Pickford, Fairbanks, Howard Schenck, and West Coast Theatres.

The groundbreaking ceremony for the Chinese Theatre occurred on the evening of January 5, 1926. Newspapers advertised the public event as the founding of "the world's most unusual playhouse". Celebrities at the ceremony included Grauman, Charlie Chaplin, Conrad Nagel, Norma Talmadge, and Anna May Wong. Talmadge and Wong turned the first spadeful of earth using a gold-plated shovel. Wong also put the first rivet into the structure of the theater.

During construction, Grauman hired Jean Klossner to formulate an extremely hard concrete for the forecourt of the theater. Klossner later became known as "Mr. Footprint", performing the footprint ceremonies from 1927 through 1957.

Many stories exist to explain the origins of the footprints. The theater's official account credits Norma Talmadge as having inspired the tradition when she accidentally stepped into the wet concrete. However, in a short interview during the September 13, 1937, Lux Radio Theatre broadcast of a radio adaptation of A Star Is Born, Grauman related another version of how he got the idea to put hand and foot prints in the concrete. He said it was "pure accident. I walked right into it. While we were building the theatre, I accidentally happened to step in some soft concrete. And there it was. So, I went to Mary Pickford immediately. Mary put her foot into it."

Another account, says that the original "accidental" slabs were made and stayed, at the curb, on the sidewalk, until 1958, when they were removed for the Hollywood Walk of Fame.

"When they stepped up off the curb, they accidentally walked on wet cement and left a trail of footprints from the street to the front doors of the theater ... The stars, seeing what they had done, grabbed a nail on the ground and signed their names next to their footprints, Pickford even dated it.' — Marc Wanamaker, Hollywood Heritage Museum."

Still another account by Klossner recounts that Klossner autographed his work next to the right-hand poster kiosk and that Grauman and he developed the idea then and there. His autograph and handprint, dated 1927, remain today. (Note: In 1949, Klossner's story changed to say that Grauman had accidentally stepped into the wet concrete. ) The theater's third founding partner, Douglas Fairbanks, was the second celebrity after Talmadge to be immortalized in the concrete.

In 1929, Grauman decided to retire and sell his share to William Fox's Fox Theatres chain. However, just a few months later, Howard Hughes convinced Grauman to return to the theater, because he wanted Grauman to produce the world premiere of his aviation epic Hell's Angels, which would also feature one of Grauman's theatrical prologs before the film. Grauman remained as the theater's managing director for the entire run of Hell's Angels, retiring once again after its run finished. Unsatisfied with retirement, though, Grauman returned to the theater as managing director on Christmas Day 1931 and kept that position until his death in 1950.

The Chinese Theatre hosted the 1944, 1945, and 1946 Academy Awards ceremonies; they are now held at the adjacent Dolby Theatre, formerly known as the Kodak Theatre.

One of the highlights of the Chinese Theatre has always been its grandeur and décor. In 1952, John Tartaglia, the artist of nearby Saint Sophia Cathedral, became the head interior decorator of the Chinese Theatre, as well as the theater chain then owned by Fox West Coast Theatres. He later continued the work of Klossner, by recommendation of J. Walter Bantau, for the Hollywood footprint ceremonies.

Tartaglia performed his first ceremony as what the City of Los Angeles termed "Hollywood's Master Mason" for Jean Simmons in 1953, for the premiere of The Robe, the first premiere in CinemaScope. Although replacing Klossner was initially thought to be a temporary job for Tartaglia, his dedication resulted in a 35-year career in which he last performed as the master mason/concrete artist in honor of Eddie Murphy in May 1987. Tartaglia was formally recognized by the City of Los Angeles in October 2011.

The Chinese Theatre was declared a historic and cultural landmark in 1968, and has undergone restoration projects in the years since then. Ted Mann, owner of the Mann Theatres chain and husband of actress Rhonda Fleming, purchased it in 1973. From then until 2001, it was known as Mann's Chinese Theatre. Mann Theatres grew to become the largest independent chain in the country before Mann sold the business, including the Chinese Theatre, to Gulf+Western in 1986.

In 1984, the Hollywood Boulevard Commercial and Entertainment District was added to the National Register of Historic Places, with the Chinese Theater listed as a contributing property in the district.

In 1988, Time Warner predecessor Warner Communications Inc. bought a 50% stake from Gulf+Western for $150 million. The theater chain was eventually sold to WestStar Holdings in 1997. In 2000, a partnership of Warner Bros. and Paramount Pictures acquired the theater, along with the other Mann Theatres properties.

In 2000, Behr Browers Architects, a firm previously engaged by Mann Theatres, prepared a restoration and modernization program for the structure. The program included a seismic upgrade, new state-of-the-art sound and projection, new vending kiosks, and exterior signage, and the addition of a larger concession area under the balcony. The program began in 2002 and restored the original name — "Grauman's Chinese Theatre" — to the cinema palace. As part of the upgrade, Behr Browers also designed a new Chinese-themed six-plex in the attached Hollywood and Highland shopping center that continued to operate under the name Mann's Chinese 6 Theatre.

In 2007, the CIM Group purchased the land on which the theater sits for an undisclosed price from the Damon Runyon Cancer Research Foundation of New York and Barlow Respiratory Hospital of Los Angeles. CIM Group also owns the Hollywood and Highland shopping center, as well as numerous other residential and commercial properties in Hollywood. On May 27, 2011, Chinese Theatres LLC, a partnership owned by producer Elie Samaha and Donald Kushner, purchased both Grauman's Chinese Theatre and the adjacent Mann Chinese 6.

Grauman's Chinese Theatre was sold for $25 million in 2013, and today it continues to serve the public as a first-run movie theater.

Exterior
Raymond M. Kennedy, a Southern California architect of the firm Meyer & Holler, designed the Chinese Theatre at the behest of owner Sid Grauman. Prior to conceiving the Exotic Revival-style plan for the Chinese Theatre, Meyer & Holler had previously designed the similarly-themed West Coast Theatre in Long Beach. Plans called for an ambitious venue that would cost US$2.1 million to construct, considered a very high budget for a movie theater at the time.

The exterior's most notable feature is the 90 foot-tall pagoda centered in the middle of the forecourt. The pagoda's upright structure is supported by two prominent red pillars and its roof is plated in bronze. The design features numerous traditional Chinese ornamentations, including a 30 foot-tall stone-carved mural of a dragon on the central wall between the columns. Two Ming dynasty-era guardian lion statues flank the venue's entrance. The U.S. government granted permission for the statues, as well as temple bells and other artifacts, to be imported from China. Moon Quon, a Chinese poet and filmmaker, traveled to the United States to oversee a team of Chinese artisans tasked with creating the theater's traditional decoration. Xavier Cugat painted the trees and foliage between the pillars on the side walls and Keye Luke painted the Chinese murals in the lobby.

Interior
The auditorium features a sixty-foot-wide ornate doily on its ceiling with various silver dragon emblems and gold medallions. A bronze chandelier fashioned to appear as a lantern hangs from the center of the doily. The theater's color scheme is primarily various shades of red – ruby, crimson, pale scarlet, and coral lacquer – with bronze, gold, stone, and silver providing accents. Author Charles Beardsley likened the auditorium to a "gigantic shrine at the time of the Five Emperors or the Dynasty of Hsia".

In its original configuration, the auditorium included a 150 foot-wide, 46 foot-deep, 71 foot-high stage, one of the largest in the world. The stage was divided into sections, making it possible to recess it into a 20 foot-deep pit below in order to quickly change sets during live productions. The theater used "its own power plant" and an "auxiliary dynamo system" to generate its electricity independent of the city power grid.

Despite the grandiose nature and high construction cost of the theater, its original capacity of 2,258 was only about half of the seats that the largest movie palaces had at the time. The lack of a proper general-admission balcony partly contributed to its smaller size; instead, the auditorium features four private box suites.

The Chinese Theatre was the first commercial movie theater to have air conditioning. The vents are concealed behind the imported decorative pillars on the side walls of the auditorium. The interior design also features a concealed three-manual, 17-rank Wurlitzer organ; its pipes were above the proscenium with tone chutes directing the sound through holes in the ceiling to make the sounds "feel like they were descending from the heavens." In 1957, theater ownership removed the organ and gave it to the Roman Catholic Archdiocese of Los Angeles, who in turn installed most of its parts at the St. Finbar Church in Burbank.

A concession stand was not in the theater's original plans, because Grauman thought it would detract from the theatrical experience. The theater began to sell concessions in the 1930s.

Handprints
Nearly 200 Hollywood celebrity handprints, footprints, and autographs are in the concrete of the theater's forecourt. Fairbanks and Pickford were the first, done on April 30, 1927.

Variations of this honored tradition are imprints of Harold Lloyd's eyeglasses, Groucho Marx's cigar, Whoopi Goldberg's dreadlock, the wands used by Harry Potter stars Daniel Radcliffe, Rupert Grint, and Emma Watson, John Barrymore's facial profile (reflecting his nickname "The Great Profile"), Betty Grable's leg, and Marilyn Monroe's earring.

Western stars William S. Hart and Roy Rogers left imprints of their revolvers. John Wayne left his boot and fist prints, Herbie, a Volkswagen Beetle, left the imprints of his tires. The hoofprints of Tom Mix's horse, Tony, Gene Autry's horse, Champion, and Rogers' horse, Trigger, were left in the concrete beside those of their owners.

Since 2011, a surge of concrete ceremonies has occurred, many of which have been paid for by movie studios for publicity reasons. One of the theater's current owners, Donald Kushner, acknowledged this and referred to them as mock ceremonies. This influx has been a matter of concern for film buffs and historians, as well as misleading for fans. However, despite the increase of concrete blocks, the ones placed within the forecourt are still chosen by a special committee which selects celebrities based on their contributions to Hollywood cinema. Practice blocks, completed inside the theater before the ceremony, are placed on the walls of the Chinese 6 Theatre lobby, which is also used as an event space.

IMAX conversion
In April 2013, owners announced plans to convert the original theater for IMAX. The new 94 x silver screen is curved and can be masked for premieres and screening events of non-IMAX films. To accommodate better sightlines and a taller screen, seating was re-arranged in stepped rows, descending from street level to the floor of the former basement.

The auditorium's decorative walls and ceiling remain unaltered, the existing curtain was extended, decorative lighting effects were added and TCL added digital signage. The theater reopened on September 20, 2013, with the IMAX 3D version of The Wizard of Oz. Although it opened with only a digital projection system, a 70 mm IMAX projection system was temporarily installed for the runs of Interstellar and Oppenheimer in 2014 and 2023 respectively. Because of the success of the Oppenheimer run, the 70 mm projection system was kept in 2024 for the re-release of Tenet and the release of Dune: Part Two.

In April 2015, the IMAX system was upgraded to use the new dual-4K IMAX with Laser projector system for the premiere of Furious 7.

Recreations
A full-scale recreation of the Chinese Theatre's exterior facade and lobby exists at Disney's Hollywood Studios theme park at the Walt Disney World Resort in Bay Lake, Florida. The recreation originally housed The Great Movie Ride which opened with the park on May 1, 1989, and closed on August 13, 2017. Its replacement attraction, Mickey & Minnie's Runaway Railway, opened on March 4, 2020. It also has concrete handprints inside the sidewalks from the years 1988–1995.

A sized-down recreation of the Chinese Theatre, both interior and exterior was built at Parque Warner Madrid theme park in San Martín de la Vega, near Madrid, Spain. The building shows films relevant to Warner Bros., previously The Lego Movie and Storks. During Halloween, horror films for guests over the age of 18 are shown such as Friday the 13th.

Films
The Chinese Theater appears at the end of Speed and Austin Powers in Goldmember. It also appears in Iron Man 3.

Janet Gaynor visits the courtyard and a number of the signatures and footprints are seen in the 1937 movie A Star is Born - including Harold Lloyd's glasses, Joe E. Brown's "mouthprint", Jean Harlow's handprints, Eddie Cantor's "eyes", Shirley Temple's "Love to you all" message, and the fictitious Norman Maine's footprints.

Videogames
A building known as the Oriental Theater, which is based on the Chinese Theater, makes an appearance in the 2013 videogame Grand Theft Auto V.

title: Grauman's Chinese Theatre


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Seal of Utah

The Great Seal of the State of Utah was adopted on April 3, 1896, at the first regular session of the Legislature (January, February, March, April 1896). The original seal was designed by Harry Edwards & C. M. Jackson and cost $65.00,. The great seal is described in Utah Code Annotated, 1953, Volume 7a, section 67-2-9 as follows:

""The Great Seal of the State of Utah shall be two and one-half inches in diameter, and of the following device; the center a shield and perched thereon an American Eagle with outstretching wings; the top of the shield pierced by six arrows crosswise; under the arrows the motto "INDUSTRY"; beneath the motto a beehive, on either side growing sego lilies; below the figures "1847"; on each side of the shield an American Flag.; encircling all, near the outer edge of the seal, beginning at the lower left-hand portion, the words, "THE GREAT SEAL OF THE STATE OF UTAH", with the figures "1896" at the base.""

Seal of the governor
There is also an official seal of the governor of Utah. Borrowing most of the same symbolism from the state seal, the Governor's seal includes Roman numerals at the bottom, which represent the Governor himself, and this changes with every new Governor. Each Governor therefore has a seal unique to themselves and their administration. The Roman numerals are currently "XVIII", representing Spencer Cox, who is the 18th governor of Utah since statehood. The seal was designed after the California Governor's Seal by Ronald L. Fox of Salt Lake City, Utah in 1992.

Enhanced variant
An artist at the Colonial Flag Company, produced the artwork for the corrected Utah State flag used during the Legislative process. The flag was drawn following the legal description and using the colors of the flag made for presentation to the USS Utah (BB-31) in 1912. Although colors were not included in the law describing the Utah State Flag as adopted in 1912 and amended in 1913, they were described in other state documents. Utah officials asked that those colors be used. However, they declined to include an illustration with the House Concurrent Resolution, saying that was not possible.

As with many flags with seals and coats of arms, there is room for artistic interpretation while still following correct designs. Paul Swenson, who as the President of Colonial Flag Company had paid for the prototype design, felt the eagle as shown in that design was weak and unattractive. He had graphic artist Perry Van Schelt strengthen the design while following the same description and using the same colors as employed in the prototype. Advisors in the project included John Hartvigsen, David Rindlisbach and Ronald L. Fox, Fox suggested the flag on the seal would have 45 stars divided between the two U.S. Flags shown on the seal, Utah was the 45th State. Both the prototype and the enhance designs are correct and follow the law and intent of the 2011 legislation. Only a few hundred flags were ordered using the prototype design, and most flags now being made and sold use the enhanced design, but legally flag manufacturers are free to use either version.

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

title: Seal of Utah


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User:Ta bu shi da yu/rfc

RFC pages on VfD
Should RFC pages be placed on VfD to be deleted? I'm considering removing Requests for comment/Slrubenstein, Requests for comment/Jwrosenzweig and Requests for comment/John Kenney from WP:VFD. Each of them was listed by CheeseDreams. Your comments on whether I should do this would be appreciated.

title: User:Ta bu shi da yu/rfc


text:
The King of Kings (1927 film)

The King of Kings is a 1927 American synchronized sound epic film produced and directed by Cecil B. DeMille. It depicts the last weeks of Jesus before his crucifixion and stars H. B. Warner in the lead role. While the film has no audible dialog, it was released with a synchronized musical score with sound effects using the RCA Photophone sound-on-film process.

Featuring the opening and resurrection scenes in two-color Technicolor, the film is the second in DeMille's Biblical trilogy, preceded by The Ten Commandments (1923) and followed by The Sign of the Cross (1932).

Plot
Mary Magdalene is portrayed as a wild courtesan, entertaining many men around her. Upon learning that Judas is with a carpenter she rides out on her chariot drawn by zebras to get him back. Peter is introduced as the Giant apostle, and we see the future gospel writer Mark as a child who is healed by Jesus. Mary, the mother of Jesus, is shown as a beautiful and saintly woman who is a mother to all her son's followers. The first sight of Jesus is through the eyesight of a little girl, whom he heals. He is surrounded by a halo. Mary Magdelene arrives afterwards and talks to Judas, who reveals that he is only staying with Jesus in hopes of being made a high official after Jesus becomes the king of kings. Jesus casts the Seven Deadly Sins out of Mary Magdalene in a multiple exposure sequence.

Jesus is also shown healing a boy possessed by a demon, resurrecting Lazarus from the dead and healing the little children. Some humor is derived when one girl asks if he can heal broken legs, and, when he says yes, she gives him a legless doll. Jesus smiles and repairs the doll. The crucifixion is foreshadowed when Jesus, having helped a poor family, wanders through the father's carpentry shop, and, himself a carpenter's son, he briefly helps carve a piece of wood. When a sheet covering the object is removed, it is revealed to be a cross towering over Jesus.

Jesus and his apostles enter Jerusalem, where Judas incites the people and rallies them to proclaim Jesus as the King of the Jews. Jesus, however, renounces all claims of being an Earthly king. Caiaphas the High Priest is also angry at Judas for having led people to a man whom he sees as a false prophet. Meanwhile, Jesus drives away Satan, who had offered him an Earthly kingdom, and he protects a woman caught in adultery. The words he draws in the sand are revealed to be the sins the accusers themselves committed.

Judas, desperate to save himself from Caiaphas, agrees to turn over Jesus. Noticeably at the Last Supper, when Jesus distributes the bread and wine saying that they are his body and blood, Judas refuses to eat or drink. Towards the end, Mary confronts her son and tells him to flee from the danger that is coming. Jesus replies that it must be done for the salvation of all peoples.

Jesus goes to the Garden of Gethsemane where he is soon captured by the Roman soldiers and betrayed by Judas. Judas' life is saved, but, upon seeing that Jesus is going to be killed as a result, he is horrified. Judas takes a rope that the Romans had used to bind Jesus' wrists and runs off. Jesus is beaten and then presented by Pontius Pilate to the crowd. Mary pleads for the life of her son and Mary Magdalene speaks for him but Caiaphas bribes the crowd to shout against Jesus.

Jesus is taken away to be crucified, though he pauses on the Via Dolorosa to heal a group of cripples in an alley, despite his weakened condition. Jesus is crucified and his enemies throw insults at him. (One woman even anachronistically eats popcorn and smiles with glee at Jesus' crucifixion.) When Jesus does die, however, there is a great earthquake. The tree where Judas had hanged himself, with the rope used to bind Jesus's wrists, is swallowed up amidst bursts of hellfire. The sky turns black, lightning strikes, the wind blows, the people who had mocked Jesus run in terror, and the veil covering the Holy of Holies in the Jerusalem Temple is torn in two.

The tumult ends when Mary looks up at heaven and asks God to forgive the world for the death of their son. The chaos ends and the sun shines. Jesus is taken down from the cross and is buried. On the third day, he rises from the dead as promised. To emphasize the importance of the resurrection, this scene from an otherwise black and white film is shot in color. Jesus goes to the Apostles and tells them to spread his message to the world. He tells them "I am with you always" as the scene shifts to a modern city to show that Jesus still watches over his followers.

Many of the film's intertitles are quotes (or paraphrases) from Scripture, often with chapter and verse accompanying.

Cast

 * H. B. Warner as Jesus
 * Dorothy Cumming as Mary, the mother of Jesus
 * Ernest Torrence as Peter
 * Joseph Schildkraut as Judas Iscariot
 * James Neill as James the Great
 * Joseph Striker as John the Apostle
 * Robert Edeson as Matthew the Apostle
 * Sidney D'Albrook as Thomas, the Doubter
 * David Imboden as Andrew – a Fisherman
 * Charles Belcher as Philip the Apostle
 * Clayton Packard as Bartholomew the Apostle
 * Robert Ellsworth as Simon – the Zealot
 * Charles Requa	as James the Less
 * John T. Prince as Thaddeus
 * Jacqueline Logan as Mary Magdalene
 * Rudolph Schildkraut as Caiaphas – High Priest of Israel
 * Sam De Grasse as Pharisee
 * Casson Ferguson as Scribe
 * Victor Varconi as Pontius Pilate
 * Majel Coleman as Proculla – Wife of Pilate
 * Montagu Love as Roman Centurion
 * William Boyd as Simon of Cyrene
 * Micky Moore as Mark
 * Theodore Kosloff as Malchus – Captain of the High Priest's Guard
 * George Siegmann as Barabbas
 * Julia Faye	as Martha
 * Josephine Norman as Mary of Bethany
 * Kenneth Thomson as Lazarus
 * Alan Brooks as Satan
 * Viola Louie as Adulterous Woman
 * Muriel McCormac	as Blind Girl
 * Clarence Burton as Dysmas – the Repentant Thief
 * Jim Mason as Gestas – the Unrepentant Thief
 * May Robson	as Mother of Gestas
 * Dot Farley	as Maidservant of Caiaphas
 * Hector V. Sarno as Galilean Carpenter
 * Leon Holmes as Imbecile Boy
 * Otto Lederer as Eber – a Pharisee
 * Bryant Washburn as Young Roman
 * Lionel Belmore as Roman Noble
 * Monte Collins as Rich Judeaean
 * Lucio Flamma as Gallant of Galilee
 * Sôjin Kamiyama as Prince Of Persia
 * André Cheron as Wealthy Merchant
 * Willy Castello as Babylonian Noble
 * Noble Johnson as Charioteer
 * Jim Farley as Executioner
 * James Dime as a Roman soldier

Cast notes
 * Sally Rand was an extra in the film, years before becoming notorious for her "fan dance" at the 1933 World's Fair.
 * Writer Ayn Rand (no relation to Sally Rand) also was an extra in the film, and met her future husband Frank O'Connor on set.
 * Micky Moore was the last surviving cast member at his death in 2013.

Production
A giant gate built for this film was later used in the 1933 film King Kong, and was among the sets torched for the "burning of Atlanta" in Gone with the Wind (1939). Other sets and costumes were re-used for the 1965 Elvis Presley film, Harum Scarum.

The movie has two Technicolor sequences, the beginning and the resurrection scene, which use the two-color process invented by Herbert Kalmus.

The 1927 Cummings trial for divorce from her husband Frank Elliott revealed that DeMille, because Christians would not accept any reflections cast upon Christ or his mother, had Cummings sign a contract on August 21, 1926, that regulated her private life for seven years. It included clauses that precluded her from divorcing her husband for any act, to do anything that would give her husband grounds for divorce, or to play a prostitute or similar role in any film. The contract did not prevent the divorce.

Release
The King of Kings was the first movie that premiered at the noted Grauman's Chinese Theatre in Los Angeles, California on May 18, 1927. The film was screened there again on May 24, 1977, to commemorate the theater's 50th anniversary.

In what is considered one of the earliest applications of market segmentation to film promotion, students ranging from elementary to high school were dismissed early to attend afternoon screenings of the film. The King of Kings was seen by around 500 million viewers between its original release in 1927 and the remake released in 1961.

Critical reception
The King of Kings received praise from critics. The Film Daily stated: "There can be said nothing but praise for the reverence and appreciation with which the beautiful story has been developed. . . The King of Kings is tremendous from every standpoint. It is the finest piece of screen craftsmanship ever turned out by DeMille". Photoplay described the film as "Cecil B. DeMille's finest motion picture effort" and thought he took "the most difficult and exalted theme in the world's history—the story of Jesus Christ—and transcribed it intelligently and ably to the screen." Norbert Lusk of Picture Play believed "The King of Kings is Cecil B. DeMille's masterpiece, and is among the greatest of all pictures. It is a sincere and reverent visualization of the last three years in the life of Christ, produced on a scale of tasteful magnificence, finely acted by the scores in it, and possessed of moments of poignant beauty and unapproachable drama. This is a picture that will never become outmoded."

Accolades
In June 1927, Photoplay named the film one of "The Best Pictures of the Month". For their work in The King of Kings, H. B. Warner, Victor Varconi, Rudolph Schildkraut, and Ernest Torrence were included among "The Best Performances of the Month". It is widely considered to be among the most popular Hollywood biblical epic films depicting the life of Christ.

Censorship
Film censorship in the United States in the 1920s was performed by several state and city censor boards. The Memphis Board of Censors ordered cut 900 feet of the film depicting the scourging and crucifixion of Jesus, but the Lyric Theatre in Memphis, under guidance provided by Pathé, showed the film uncut starting on March 5, 1928, which led to the arrest of the theatre manager Vincent Carline. A lower court held that the censor board decisions were subject to court review and released the manager, allowing the film to be shown without interference from police or the censor board. However, on appeal this decision was reversed by the Tennessee Court of Appeals, which held that the acts of the Memphis Censor Board were not subject to judicial review provided the board did not exceed its authority, so the board's cuts to the film were legal and final.

In the United Kingdom, the film was initially banned by the London County Council due to a rule that prohibited films from showing a materialized Christ, which led to a revision of the local censorship rules.

Lawsuit
In 1928, actress Valeska Surratt and scholar Mirza Ahmad Sohrab sued DeMille for stealing the scenario for The King of Kings from them. The case went to trial in February 1930 but eventually was settled without additional publicity. Surratt, who had left films to return to the stage in 1917, appeared to be unofficially blacklisted after the suit.

Preservation
Complete prints of The King of Kings are held by:
 * Cinematheque Royale de Belgique
 * Cineteca Del Friuli in Gemona (on 16 mm)
 * George Eastman Museum
 * Library of Congress (on 35 mm)
 * Cineteca Nazionale (on 35 mm)
 * Arhiva Națională de Filme
 * UCLA Film and Television Archive (on 35 mm and LaserDisc)
 * British Film Institute
 * Yugoslav Film Archive

title: The King of Kings (1927 film)


text:
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title: User talk:Wayne Anthony


text: File:ELP - Black Moon.jpg

title: File:ELP - Black Moon.jpg


text:
User:Lindsay-mclennan

Background
A native of Ann Arbor, Michigan, Lindsay got his first sniff of computers in elementary school. He was hooked. He started taking classes in BASIC at the age of 8. In high school he studied Pascal, C, and C++, taking a course and interning at the University of Michigan. He has since added numerous other languages and technologies to his repertoire and holds a BS in Computer Science.

A long-time Mac user, he also caught the Unix bug during his days as a sysadmin and webmaster. He has been doing web work for universities since 1996, helping to develop and maintain the main websites of both the University of Michigan and Eastern Michigan University.

title: User:Lindsay-mclennan


text:
Wikipedia:Articles for deletion/Oliver ferris

Oliver ferris
Vanity... P Ingerson 03:22, 10 Dec 2004 (UTC)

 * Delete - doesn't appear to be famous; just a regular college student, thus, not notable. Spangineer 06:23, Dec 10, 2004 (UTC)
 * Delete Aerion 07:48, 10 Dec 2004 (UTC)
 * Delete. Misspelled substub vanity. [[User:MacGyverMagic|Mgm|(talk)]] 12:15, Dec 10, 2004 (UTC)
 * Delete, there has got to be some psychological significance to the lack of capitalized surnames in the titles of these vanity posts. Wyss 12:46, 10 Dec 2004 (UTC)
 * Delete.   — Asbestos | Talk 16:14, 10 Dec 2004 (UTC)
 * del. Mikkalai 08:56, 11 Dec 2004 (UTC)
 * Delete. utcursch 10:58, Dec 11, 2004 (UTC)


text:
American shad

The American shad (Alosa sapidissima) is a species of anadromous clupeid fish naturally distributed on the North American coast of the North Atlantic, from Newfoundland to Florida, and as an introduced species on the North Pacific coast. The American shad is not closely related to the other North American shads. Rather, it seems to form a lineage that diverged from a common ancestor of the European taxa before these diversified.

The American shad has been described as "the fish that fed the (American) nation's founders". Adult shad weigh between 3 and 8 lb, and they have a delicate flavor when cooked. It is considered flavorful enough not to require sauces, herbs, or spices. It can be boiled, filleted and fried in butter, or baked. Traditionally, a little vinegar is sprinkled over it on the plate. In the Eastern United States, roe shads (females) are prized because the eggs are considered a delicacy.

The name "shad" derives from the Old English sceadd, meaning "herring"; it is a cognate to Irish, Welsh, and Scottish Gaelic words for herring.

Life history
The shad spends most of its life in the Atlantic Ocean but swims up freshwater rivers to spawn. Northern populations are iteroparous. Thus, they may survive breeding, return to the sea, and then return to fresh waters to spawn several more times. However, southern populations exhibit semelparity, similar to Pacific salmon. In the marine environment, shad are schooling fish. Thousands are often seen at the surface in spring, summer, and autumn. They are hard to find in the winter, as they tend to go deeper before spawning season in the range 13 - 18 C; they have been pulled up in nets as deep as 65 fathom.

Like other herrings, the American shad is primarily a plankton feeder but eats small shrimp and fish eggs. Occasionally, they eat small fish, but these are only a minor item in their general diet.

The sexually mature American shad enter coastal rivers in spring or early summer, usually when the river water has warmed to 50 to 55 F. Cooler water appears to interrupt the spawn. Consequently, the shad run correspondingly later in the year passing from south to north along the coast, commencing in Georgia in January; in March in the waters tributary to Pamlico and Albemarle Sounds; in April in the Potomac; and in May and June in northern streams generally from Delaware to Canada.

American shad run far upstream in large rivers, such as the Connecticut. The apparent longest distance is in the St. Johns River of Florida, an extremely slow (drops 1 in per mile, 1.5 cm per km) river that widens into large lakes; shad have been found 375 mi upriver.

The spawning fish select sandy or pebbly shallows and deposit their eggs primarily between sundown and midnight. Females release eggs in batches of about 30,000 eggs, though very large fish deposit an estimated as many as 156,000 eggs. Total annual egg production is 200,000–600,000 eggs per female, with larger fish producing more. In rivers north of Cape Fear, the spent fish, now very emaciated, return to the sea immediately after spawning. In southern rivers, most shad die after spawning.

The eggs are transparent, pale pink, or amber, and being semibuoyant and not sticky like those of other herrings, they roll about on the bottom with the current. The eggs hatch in 12 to 15 days at 52 F, in six to eight days at 63 F, which covers the range characteristic of Maine and Bay of Fundy rivers during the season of incubation.

The fry are about 9 to 10 mm long. Juvenile shad remain in the rivers until fall when they move down to salt water; they are now 1+1/2 to 4+1/2 in long, resembling their parents in appearance.

Ecology and diet
As adults, shad filter feed at sea and during their return journey to spawn. They are pursued and hunted primarily by striped bass and, at times, harbor seals. They may not actively feed on their return and are caught with special 'dart' lures instead of typical bait.

Nutritional information
Like most herring species, American shad are very high in omega 3 fatty acids and, in particular, contain nearly twice as much per unit weight as wild salmon. They are also very low in toxins such as PCBs, dioxins, and mercury by EPA estimates. The American or Atlantic shad (A. sapidissima) is a valued food fish.

Shad populations
Declines in the Atlantic coast shad population were documented as early as the turn of the 20th century. Traditionally, shad were caught along with salmon in set nets, which were suspended from poles driven into the river bed reasonably close to shore in tidal water. Many of the rivers where shad were once common now suffer from pollution; however, the short time spent by shad in freshwater may minimize contamination. For example, fisheries scientists have found that shad in the Hudson River are not in the river long enough to be affected by PCBs and other contaminants (however, fishing for or possessing American shad [including catch and release] in the Hudson River or Marine District is now prohibited). Pollution, however, may impact shad reproduction and studies have been undertaken to determine whether fingerlings suffer DNA damage.

Most rivers across the historic shad range are now heavily dammed, eliminating many of the spawning grounds. For example, the number of shad harvested in the Merrimack River declined from almost 900,000 in 1789 to none in 1888, likely due to the inability to reach their spawning ground following a period of heavy dam construction. Fish passage efforts, including the Chesapeake Bay program, have begun to remedy this situation. While recreational angling has almost no measurable impact on shad populations, they are susceptible to commercial overfishing. Because of their highly migratory life history and their recreational and commercial importance, American shad are co-managed by the U.S. Fish and Wildlife Service, the National Marine Fisheries Service, and state fisheries agencies. The Atlantic States Marine Fish Commission is a crucial forum for coordinating the collective effort to conserve American shad.

Introduced in the North Pacific
American shad were introduced into the San Francisco Bay/Sacramento River system in California in the 1800s, and they have spread throughout many river systems on the West Coast of North America. A large shad population occurs in the Columbia River. In recent years, shad counts at Bonneville and The Dalles Dams have ranged from over two million to over five million fish per year. Spawning shad returned to Columbia in May and June and migrated above Lower Granite Dam on the Snake River and above Priest Rapids Dam on the Upper Columbia. Unlike many introduced species, American shad have not been confirmed to have serious negative effects on the environment or other native fish species in the Columbia.

American shad are also occasionally found on the Northwest Pacific coast in Kamchatka, Russia.

Shad fishing
Shad are also valued as a sport fish that exhibit complex and little-understood feeding behaviors while spawning. Unlike salmon, shad retain the ability to digest and assimilate food during the anadromous migration. Like other fish, turbidity and water temperature can trigger their feeding instinct.

Society and culture
Shad serve notable symbolic roles in regional politics and culture. On the year of every gubernatorial election, would-be candidates, lobbyists, campaign workers, and reporters gather in the town of Wakefield, Virginia, for Shad Planking. Similarly, in Connecticut, the towns of Essex and Windsor hold annual shad festivals. Each spring, the town of Lambertville, New Jersey, on the Delaware River across from New Hope, Pennsylvania, also hosts an annual Shad Festival. The Salem County New Jersey Attorney Bar Association has held an annual Shad Dinner every spring since the 1940s. There is a shad museum on the Connecticut River in Haddam, Connecticut.

William Penn negotiated with the Lenape for the shad fishing ground Schuylkill in the 1680s. Shad, he said, were "excellent Pickled or Smoked."

title: American shad


text:
Comics' Greatest World

Comics' Greatest World was an imprint of Dark Horse Comics. It was created by Team CGW. Originally conceived in 1990, it took three years for the line to be released, which led to an industry-wide perception that it was created to capitalize on the speculator mania of the early 1990s. When the mania ended, most of the titles were canceled. Ghost, one of the imprint's more unorthodox titles, managed to survive the longest. It was canceled twice, first in early 1998, before being revived later that year and canceled again after a run of just less than two years.

All Comics' Greatest World titles took place in a shared universe. Most of the action centered on four cities in a slightly skewed version of America: Arcadia, Golden City, Steel Harbor, and the Cinnibar Flats area of Nevada, home of an interdimensional rift called the "Vortex".

The series started off with a story in Dark Horse Comics before kicking off in four weekly limited series, introducing the cities and characters. These were followed by several short-lived series, one-shots, and mini-series. Only a few titles lasted very long.

Around April 1995, the imprint was renamed "Dark Horse Heroes". With the name change, the use of the city logos was also dropped.

Arcadia
First appearance: Dark Horse Comics #8 (intro of X)

"Arcadia is an orderly, smoothly run machine of a city. [...] This is a world of shadow, danger, and bloody retribution." It is a city of corrupt officials and organized crime. The policemen who are not on the take are criminals in their own right.

Major characters:
 * X
 * Ghost
 * Focus (Ghost)
 * Silhouette (Ghost)
 * Carmine Tango (X)

Other characters:
 * Monster (Comics' Greatest World, Will to Power, X)
 * Pit Bulls (Comics' Greatest World, X)
 * Scream (Hero Illustrated: X Special - Will to Power)
 * Lt. Lewis
 * Congressman DeMarco
 * Commissioner Anderson
 * Mayor Teal

Golden City
Major characters:
 * Grace
 * Titan
 * Catalyst: Agents of Change (a group of heroes)
 * Law (introduced in Division 13 #1)

Other characters:
 * Madison
 * Ruby
 * Rebel
 * Warmaker

Steel Harbor
Major characters:
 * Barb Wire
 * Motorhead
 * The Machine

Other characters:
 * Mace Blitzkrieg
 * Wolf Hunter
 * Ignition
 * Charlie

The Vortex and surrounding areas
Major characters:
 * Lt. Anderson
 * Vortex
 * Division 13
 * Law
 * Hero Zero (Comics' Greatest World, Will to Power, Out of the Vortex)
 * King Tiger (Comics' Greatest World, Will to Power, Ghost)

The original mini-series
The original Comics' Greatest World mini-series comprised 16 weekly issues divided into four environments, each with four issues. The story followed a group of searchers from the Reaver Swarm coming to Earth to track down the Heretic. Each issue also featured a one-page prologue detailing the Heretic's experiments on Earth during the 1930s and 1940s, which ended in an accident that resulted in the metahuman activity on the planet.

Major characters

 * X (weeks 1–4)
 * Grace (weeks 5–8)
 * Barb Wire (weeks 9–12)
 * Motorhead (weeks 9–12)
 * Lt. Anderson (weeks 13–16)
 * Vortex

Issues

 * Prelude: Dark Horse Comics #8-10: "Who is X?" (reprinted in X: One Shot to the Head)
 * Comics' Greatest World: Sourcebook
 * Arcadia Week 1: X (cover by Frank Miller)
 * Arcadia Week 2: Pit Bulls
 * Arcadia Week 3: Ghost (cover by Dave Dorman)
 * Arcadia Week 4: Monster
 * Golden City Week 1: Rebel (cover by Jerry Ordway)
 * Golden City Week 2: Mecha
 * Golden City Week 3: Titan
 * Golden City Week 4: Catalyst: Agents of Change (cover by George Pérez)
 * Steel Harbor Week 1: Barb Wire
 * Steel Harbor Week 2: The Machine
 * Steel Harbor Week 3: Wolf Gang (cover by Chris Warner)
 * Steel Harbor Week 4: Motorhead
 * Vortex Week 1: Division 13
 * Vortex Week 2: Hero Zero
 * Vortex Week 3: King Tiger (cover by Geoff Darrow)
 * Vortex Week 4: Out of the Vortex (cover by Frank Miller)

Will to Power
Titan, following his exit from Golden City, goes to work for the United States government and comes into contact with all the major characters of the line.

Major characters

 * Titan

Issues

 * Titan Special #1 (lead-in)
 * Will to Power #1-3 (Arcadia)
 * Will to Power #4-6 (Steel Harbor)
 * Will to Power #7-9 (Golden City)
 * Will to Power #10-12 (Vortex)

Hunting the Heroes
Hunting the Heroes was a "theme" series. The individual stories were unrelated and could be read in any order. Released in 1995, this series pitted the Heroes against the Predator, a hunter from another universe. A group of Predators (the aliens from the Predator movies) arrives on Earth and begins hunting various CGW heroes.

Major characters

 * X
 * Ghost
 * Motorhead
 * Law

Issues

 * X #18
 * Ghost #5
 * Motorhead #1
 * Agents of Law #6

Special cases

 * 9 issues of Dark Horse Comics featured CGW stories, including the very first CGW story, the 3-part "Who is X?" (#8-10, later reprinted as X: One Shot to the Head); #19-20 (X); #21-22 (Mecha); and #23-24 (The Machine).
 * At least 4 issues and 1 annual of Dark Horse Presents: #144 (Vortex), #145-147 (Ghost)
 * A Ghost story was featured in A Decade of Dark Horse #2.
 * Also, the Nexus story in A Decade of Dark Horse #3 featured theme park rides of Ghost and Barb Wire, and Hero Zero made a cameo appearance in a story in The Mask.

Collected editions
During the initial publication period, a black-covered trade paperback was given to retailers as an ordering incentive during the fourth week of each month in the 16-week period. The covers featured the embossed foil logo of the city they represented.

Dark Horse has published a handful of Comics' Greatest World/Dark Horse Heroes titles in omnibus form.

 * Dark Horse Heroes Omnibus, Vol. 1 – Collects the Comics' Greatest World and Will to Power maxi-series, plus a written summary of the events in between by Chris Warner (January 2008, ISBN 978-1-59307-734-1).
 * X Omnibus, Vol. 1 – Collects X #1-11, X: One Shot to the Head, "Welcome to the Jungle" from Dark Horse Comics #19-20, X: Hero Illustrated Special #1-2 (May 2008, ISBN 978-1-59307-939-0).
 * X Omnibus, Vol. 2 – Collects X #12-25, "Someone to Watch Over Me" from Dark Horse Extra #28-31 (August 2008, ISBN 978-1-59307-940-6).
 * Barb Wire Omnibus, Vol. 1 – Collects all the original Dark Horse Barb Wire tales, including the Ace of Spades series (September 2008, ISBN 978-1-59307-993-2).
 * Ghost Omnibus, Vol. 1 – Collects Ghost #1-12, Ghost Special #1, "Sweet Things" from Decade of Dark Horse #2 (October 2008, ISBN 978-1-59307-992-5).

Crossovers

 * Godzilla (with Hero Zero)
 * Nexus (with Vortex; title canceled before release)
 * Predator (with X, Ghost, Motorhead, Agents of Law)
 * The Shadow (with Ghost)
 * Hellboy (with Ghost)
 * Batgirl (with Ghost)
 * The Mask (with all characters and locations)

title: Comics' Greatest World