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Up in Smoke

Up in Smoke (also referred to as Cheech & Chong's Up in Smoke) is a 1978 American comedy film directed by Lou Adler and starring Cheech Marin, Tommy Chong, Tom Skerritt, Edie Adams, Strother Martin and Stacy Keach. It is Cheech & Chong's first feature-length film and was based on their experiences as students at Cobequid Education Centre.

Cheech & Chong had been a counterculture comedy team for about ten years before they started reworking some of their material for their first film. Most of the film was shot in Los Angeles, California, including scenes set in Tijuana, while scenes set on the Mexican border were actually filmed at the border in Yuma, Arizona.

While negatively received upon its release, Up in Smoke grossed over $104 million, is credited with establishing the stoner film genre, and is now considered a cult classic.

Plot
Anthony "Man" Stoner, an unemployed, marijuana-smoking drummer, is told to either get a job by sundown or be sent off to military school by his parents. Man leaves the house and later becomes stranded on the highway. Man is picked up while hitchhiking by the equally enthusiastic stoner Pedro de Pacas, and the two share a large joint, which is revealed to contain Labrador feces after the dog ate Man's supply. When Pedro freaks out and seems to have trouble breathing, Man accidentally gives him an extremely powerful dose of LSD. The police find their car parked on a traffic median with them in it, discover that they are high and arrest them. At trial, the pair are released on a technicality after Man discovers that the judge is drinking vodka.

In an attempt to procure more marijuana, they visit Pedro's cousin Strawberry, a Vietnam War veteran. During the party, a lady snorts a couple of lines of Ajax set up by Man, under the presumption it was cocaine, despite Man trying to warn her. They narrowly escape a police raid on Strawberry's house while Strawberry has a flashback and thinks the police are the Viet Cong, but are soon deported to Tijuana, by the INS, along with Pedro's relatives, who actually called the INS on themselves, so they could get a free ride to a wedding in Tijuana.

In order to get back to the United States, they arrange to pick up a vehicle from Pedro's uncle's upholstery shop, but arrive at the wrong address: a marijuana processing plant disguised as an upholstery shop. They end up unknowingly involved in a plot to smuggle a van constructed completely out of "fiberweed" (hardened THC resin derived from marijuana - a play on the word fiberglass) from Mexico to Los Angeles, with an inept police narcotics unit led by the insane and anti-drug Sgt. Stedenko hot on their trail. At the Mexican–American border, they almost get arrested but attention is diverted to a group of nuns (into whose car Man had thrown his joint unintentionally to avoid getting arrested). The duo then cross the border into America as Stedenko finds out from his unit that they have apprehended the wrong group. Stedenko realizes that Pedro and Man’s van is their target, and begin a pursuit; however, one of Stedenko's men accidentally shoots out one of their own tires, abruptly ending the chase.

Pedro and Man pick up two hitchhiking women who convince them to perform at a Battle of the Bands contest at the Roxy Theatre. After narrowly avoiding arrest by a motorcycle cop who had gotten high off fumes from the “fiberweed” van, they arrive at the venue to find that most of the bands performing are being negatively received by the audience, which causes Man to freak out. One of the women gives Man what she believes is an "upper", but mistakenly gives him the wrong drugs. The duo's band, Alice Bowie, win over the audience, including the cops, who get stoned due to a large amount of marijuana smoke from the burning van being funneled into the venue. The pair win the contest and a recording contract.

The film concludes with Pedro and Man driving in the former's car and dreaming how their future career will pay off. Man then lights a small portion of hash and gives some to Pedro. However, it falls into his lap, causing him to panic and swerve the car while trying to put it out; Man attempts to put the hash out with his beer. During the scuffle, the car swerves down the road and smoke billows out the windows.

Production
The screenplay was written under the title The Adventures of Pedro & Man. Paramount Pictures provided the budget of $1 million but refused to provide the additional $800,000 needed to complete the film after studio president Michael Eisner saw a rough cut, so Lou Adler used his own money to complete it.

Release
As this was the comedy team's first film, Paramount wanted the initial screenings to be filled with their most ardent fans. Cheech and Chong also came up with the novel (and ultimately successful) idea of advertising the film through comic strips, which they left on bus benches.

The film had test screenings in August 1978 and opened in nine theatres in Texas in early September, grossing $344,785 in its first 10 days. The film went on to become a huge success. Prior to its official release date, the film had grossed $1.7 million, and by the end of the first month of release it had grossed $20 million and went on to gross $76 million at the domestic box office and over $104 million worldwide.

The film had midnight screenings at the Cannes Film Festival on May 17 and 18, 1979.

The film was banned in South Africa during apartheid. Censors in the country said that the film "might encourage the impressionable youth of South Africa to take up marijuana smoking". It was also banned in Colombia.

Home media
On April 10, 2018, a 40th Anniversary Edition set was released, which featured the movie on Blu-ray and DVD, and the album on vinyl record and compact disc, as well as a 7-inch picture disc vinyl record single featuring the songs "Earache My Eye" and "Lost Due To Incompetence (Theme From A Big Green Van)", with an image of Cheech from the film on the A-side and the "YESCA" license plate image on the B-side.

The 40th Anniversary Edition CD featured two bonus tracks, a previously unreleased version of the song "Up In Smoke" with an additional Spanish verse by Cheech, and a newly recorded "2018 version" of the same song.

The set also featured oversized Up In Smoke branded rolling papers, an 11×17 film poster and a booklet with new essays by both Marin and Chong, along with rare and unseen photos.

Soundtrack album
The soundtrack album was released in 1978. Allmusic gave the album a score of 3 out of 5 stars. In 2017, Billboard named Up in Smoke as one of the 10 best stoner film soundtracks.

Personnel

 * Lou Adler - Producer
 * Waddy Wachtel - Producer (8, 9, 11, 13)
 * Danny Kortchmar - Producer (8. 9, 11, 13)
 * Jerry Leiber - Producer (5, 6)
 * Mike Stoller - Producer (5, 6)
 * Jerry Goldstein - Producer (3)
 * Steve Katz - Engineer
 * Howard Frank - Assistant Engineer

 * Yesca

 * Waddy Wachtel - Guitar
 * Danny Kortchmar - Guitar
 * Jai Winding - Keyboards
 * Stanley Sheldon - Bass
 * Rick Marotta - Drums

 * "Up in Smoke 2018"

 * Bass – Cisco Adler
 * Engineer, Mixed By, Mastered By – Johannes Raassina
 * Guitar – Duane Betts, Jeramy "Bearbo" Gritter
 * Piano, Organ, Drums – Cody Dickerson
 * Producer – Cisco Adler, Lou Adler

Reception
On Rotten Tomatoes the film has an approval rating of 47% based on reviews from 19 critics. The site's consensus reads, "Oft-quoted but undeniably flawed, Up In Smoke is a seminal piece of stoner cinema thanks to the likability of its two counterculture icons." On Metacritic it has a score of 57% based on reviews from 11 critics, indicating "mixed or average reviews".

Vincent Canby of The New York Times called the film "a genially slapdash, sometimes winning live-action cartoon" with "several genuinely funny moments." Variety wrote that the film "gets off to a great start" but "once the more obvious drug jokes are exhausted, Adler lets the film degenerate into a mixture of fitful slapstick and toilet humor." Gene Siskel of the Chicago Tribune gave the film half of one star out of four, calling it "one of the most juvenile, poorly written, awkwardly directed pictures I have ever seen. And my guess is that even if you saw it in a pleasantly altered state whether from grass, a banana daiquiri, Frango mint milkshake, or a Weight Watchers' Veal Parmigiana frozen dinner, Up in Smoke would still be a real downer, man." He later put it on his year-end unranked list of the worst films of 1978. Kevin Thomas of the Los Angeles Times wrote that Cheech & Chong were "a likable, funky duo, but the script they've come up with for their film debut is severely underwritten." He also found it "hard to watch the effects of gulping Quaaludes and the like being treated as something hilarious—especially when one realizes that the kids for whom the film was so clearly intended are probably going to love it."

Pauline Kael of The New Yorker compared the film favorably to The Groove Tube, writing that Up in Smoke was "also crudely done but is more consistently funny." She added that "Cheech and Chong are so gracefully dumb-assed that if you're in a relaxed mood you can't help laughing at them." Art Harris of The Washington Post wrote that the film "may give you a buzz, but don't count on it to keep you high. Like, you know, the film suffers from a bad case of burn-out, leading one to nod off between jokes and wonder why producer Lou Adler bothered to attempt a Doper's Delight in this post-Woodstock age of Clean Living." David McGillivray of The Monthly Film Bulletin observed that the film "looks, unfortunately, as if it were more fun to make than it is to watch."

Unproduced follow-ups
In December 1978, Rolling Stone published an article stating that Cheech and Chong had "seven scripts waiting in the drawer" which included one for an animated film, and one for a sequel to Up in Smoke. No sequel was ever produced, and Cheech and Chong's Next Movie, released in 1980, did not feature the characters of Pedro and Man, although the characters they played had personalities and character traits that were virtually identical to those of Pedro and Man.

Legacy
The Grammy Award Museum in Los Angeles features an Up in Smoke exhibit which displays the master tape for the soundtrack album, the annotated original script, limited-edition 40th anniversary "smoking devices," and part of Marin's collection of "Blazing Chicano Guitars."

In 2021, an officially licensed graphic novel entitled Cheech & Chong's Chronicles: A Brief History of Weed was released by Z2 Comics. Written by Cheech Marin, Tommy Chong, and Eliot Rahal, the graphic novel acts as a sequel to the Up in Smoke film, as it features Pedro de Pacas and Anthony "Man" Stoner as the main characters of the story.

title: Up in Smoke


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Ek Aur Ek Gyarah

Ek Aur Ek Gyarah is a 2003 Indian action comedy film by  David Dhawan. This movie stars the comedic veterans Govinda and Sanjay Dutt.

Synopsis
Tara (Govinda) and Sitara (Sanjay Dutt) are brothers who are notorious, lovable, small-town con-men who are always in trouble with the law. One day when the police are chasing them, they mistakenly shoot one of the most deadly criminals who goes by the name Cobra (Ashish Vidyarthi). They look for cover and find themselves at Major Ram Singh's house (Jackie Shroff) who got Cobra's brother Panther (Gulshan Grover) arrested because he and Cobra tried to steal a very advanced gun. Tara and Sitara go to Singh's house but, since he is an army officer, he at first doesn't allow them, but later does.

Living in his house for a while, Tara and Singh's sister (Nandini Singh) fall in love; Sitara and Singh's sister's friend (Amrita Arora) fall in love, too. One day, while in the house, they watch TV and learn that Cobra has come back. They realise that Cobra has kidnapped their mother (Himani Shivpuri) so he can force Tara and Sitara to get Panther out of Ram Singh's jail. They succeed in getting Panther out of jail. Cobra returns their mother.

Ram Singh realises that he has been fooled by the two; they watch him on TV being embarrassed by the media. Sitara and Tara realise they should get revenge on Cobra and Panther. They go to Singh's house and tell him how they were forced by Cobra to deceive him. Singh forgives them. The brothers leave to catch the two criminals. They succeed and all ends well.

Cast

 * Govinda as Tara
 * Sanjay Dutt as Sitara
 * Amrita Arora as Preeti
 * Nandini Singh as Pinky Singh
 * Jackie Shroff as Major Ram Singh
 * Gulshan Grover as Panther
 * Ashish Vidhyarthi as Cobra
 * Rajpal Yadav as Chotu
 * Javed Khan as Raju Nepali
 * Mushtaq Khan as Inspector Bahadur Singh
 * Himani Shivpuri as Tara and Sitara's mother
 * Supriya Karnik as Preeti's mother
 * Tiku Talsania as Tiku
 * Mahesh Anand as Capt. Mahesh
 * Ajay Nagrath as Ram Singh's son
 * Ajit Vachani as Dr. Subramaniam

Soundtracks
Music by Shankar-Ehsaan-Loy. Lyrics were by Sameer.

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

title: Ek Aur Ek Gyarah


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Sebastiano del Piombo

Sebastiano del Piombo (c. 1485 – 21 June 1547) was an Italian painter of the High Renaissance and early Mannerist periods famous as the only major artist of the period to combine the colouring of the Venetian school in which he was trained with the monumental forms of the Roman school. He belongs both to the painting school of his native city, Venice, where he made significant contributions before he left for Rome in 1511, and that of Rome, where he stayed for the rest of his life, and whose style he thoroughly adopted.

Born Sebastiano Luciani, after coming to Rome he became known as Sebastiano Veneziano or Viniziano ("Sebastian the Venetian"), until in 1531 he became the Keeper of the Seal to the Papacy, and so got the nickname del Piombo ("of the Lead") thereafter, from his new job title of piombatore. Friends like Michelangelo and Ariosto called him Fra Bastiano ("Brother Bastian").

Never a very disciplined or productive painter, his artistic productivity fell still further after becoming piombatore, which committed him to attend on the pope most days, to travel with him and to take holy orders as a friar, despite having a wife and two children. He now painted mostly portraits, and relatively few works of his survive compared to his great contemporaries in Rome. This limited his involvement with the Mannerist style of his later years.

Having achieved success as a lutenist in Venice when young, he turned to painting and trained with Giovanni Bellini and Giorgione. When he first went to Rome he worked alongside Raphael and then became one of the few painters to get on well with Michelangelo, who tried to promote his career by encouraging him to compete for commissions against Raphael. He painted portraits and religious subjects in oils, and once he was established avoided the large fresco schemes that took up so much of the time of Raphael and Michelangelo. His earlier career in both Venice and Rome was somewhat overshadowed by the presence of clearly greater painters in the same city, but after the death of Raphael in 1520 he became Rome's leading painter. His influence on other artists was limited by his lack of prominent pupils, and relatively little dissemination of his works in print copies.

Venice
Sebastiano del Piombo was probably born in Venice, though there is no certainty as to his background. His birthdate is extrapolated from Vasari's statement that he was 62 at his death in 1547. That he was first known as a musician and singer may suggest an upper-middle-class background; the extent to which his playing on the lute and other instruments was professional is unclear. Like his contemporary Raphael, his career was marked by his ability to get on well with both other artists and patrons. He began to train as a painter at a relatively late age, probably 18 or 20, so around 1503–05, becoming a pupil of Giovanni Bellini and probably afterwards of Giorgione, both of whose influence is apparent in his works; Vasari's mention of their relationship is rather vague: "si acconciò con Giorgione".

No signed or firmly documented works survive from his period painting in Venice, and many attributions are disputed. As with other artists, some of Sebastiano's works have long been confused with Giorgione's. Like Titian, he may have completed work left unfinished at Giorgione's death in 1510; Marcantonio Michiel says he finished The Three Philosophers. The earliest significant work attributed to him is a portrait of a girl in Budapest, of about 1505.

He is now usually assigned the unfinished and reworked Judgement of Solomon now at Kingston Lacy. This dramatic and imposing picture, "one of the masterpieces of Venetian narrative painting", was also long attributed to Giorgione; it may have been abandoned about 1508, though the estimated dates vary in the period 1505–1510. After extensive restoration in the 1980s, removing later overpainting, the painting is now left with traces of the three different compositions visible; still more can be seen with infra-red reflectography. Still over 2 × 3 metres, it seems originally to have been even larger, with some 40 cm lost along the left edge. There are two versions of the elaborate architectural background, which was a recurrent interest of Sebastiano's Venetian period. The last setting is in a basilica, which may reflect a "more learned" picture intended for a building holding courts of justice. The figure at the front of the executioner, left without clothes or the baby, is clearly drawn from classical sculpture.

Four standing figures of saints in niches on the organ-shutters of San Bartolomeo, Venice, now in the Gallerie dell'Accademia in Venice, date from c. 1508–09, and are "very Giorgionesque", especially the pair on the insides. They were painted at the same time as Giorgione's frescos for the Fondaco dei Tedeschi (now lost) just by the church, which was the German's church in Venice, and at this time also held Albrecht Dürer's Madonna of the Rose-Garlands of 1506. The outside pair of shutters also show what Sebastiano had learnt from Bellini. Their technique has developed "from the earlier smooth surface to the application of paint in heavy brushstrokes", and the figure of Saint Sebastian shows awareness of classical sculpture.

The main altarpiece for San Giovanni Crisostomo, Venice of 1510–11 shows the patron saint, Saint John Chrysostom reading aloud at a desk, a Mary Magdalene looking out at the viewer, and two other female and three male saints. The organ-shutters for the church were also painted. The style shows developments "towards a new fullness of form and breadth of movement" that may have been influenced by the Florentine painter Fra Bartolommeo, who was in Venice in 1508. Aspects of the composition were also innovative, and later copied by Venetian painters, including even Titian.

1511–1520

In 1511 the Papal banker Agostino Chigi was the richest man in Rome, and a generous patron of the arts. Early in the year he was sent to Venice by Pope Julius II to buy Venetian support for the papacy in the War of the League of Cambrai. When he returned to Rome after a stay of some six months, he brought Sebastiano with him; Sebastiano was to remain based in Rome for the rest of his life. Sebastiano began by painting mythological subjects in lunettes in the Sala di Galatea in Chigi's Villa Farnesina, under a ceiling just done by Baldassarre Peruzzi. In these he already shows an adaption to Roman style, especially that of Michelangelo, whose Sistine Chapel ceiling had just been completed. Probably the next year, he added a large Polyphemus. It is possible that Raphael's famous Galatea of 1514, which is in the next bay and now dominates the room, replaced a fresco by Sebastiano. A larger cycle on the lower walls was apparently intended, but abandoned, for reasons that are not clear.

Sebastiano had also been producing easel paintings from soon after his arrival, showing the development of his new style. A Death of Adonis in the Uffizi dates to about 1512–13, and shows that he "had achieved a working dialectic of Roman and Venetian classical styles", in which he "enlarged the proportion of his figures into an almost bulking massiveness, ponderous and sensuously splendid: idealizations, but of sensuous existence".

By about 1515, Sebastiano had befriended and allied himself with Michelangelo, who recruited him "as a kind of deputy for him in painting", he having returned to his backlog of promised projects in sculpture. Michelangelo's intention was for Sebastiano to "contest Raphael's first place" in painting in Rome, using at least in part ideas and designs supplied by Michelangelo, whose rivalry with Raphael had become intense. The intention may have been for a closer relationship than actually resulted, as in 1516 Michelangelo returned to Florence, only returning occasionally to Rome for several years after.

The first result of this collaboration was one of Sebastiano's most important paintings, a Pietà in Viterbo. Here the composition is highly unusual for this common subject (which Michelangelo had famously sculpted in 1498–99), with Christ lying across the bottom of the picture space, at the feet of a Virgin looking up to Heaven, so that the two figures do not actually touch. Though no drawing survives, this was Michelangelo's conception, where "an idea of high tragic power is expressed with extreme simplicity in a structure of severe geometric rigour". The back of the panels have large sketches in charcoal that seem to be by both artists. In 1516 he painted a similar subject, the Lamentation of Jesus (now Hermitage Museum) using his own composition, and showing his awareness of Raphael's handling of groups of figures.

These led a Florentine friend of Michelangelo, Pierfrancesco Borgherini, to commission Sebastiano to decorate a chapel in San Pietro in Montorio in Rome; he no doubt hoped to get significant input from Michelangelo. There is a Michelangelo drawing of 1516 for the Flagellation of Jesus in the British Museum, and other sketches; the final design survives only in a copy by Giulio Clovio after another Michelangelo drawing (Royal Collection). In the event there were a series of interruptions and Sebastiano did not complete the chapel until early 1524. The Flagellation is painted in oil on plaster. This was a method first practiced by Domenico Veneziano, and afterwards by other artists; but according to Vasari only Sebastiano succeeded in preventing the colours eventually blackening.

The last major work of the period was the Raising of Lazarus, now in the National Gallery, London, which was commissioned in 1516 by Cardinal Giulio de Medici, archbishop of Narbonne in southern France, and the future Pope Clement VII, in blatant competition, engineered by Michelangelo, with a painting of the same size by Raphael, the Transfiguration. Both were supposed to hang in Narbonne Cathedral. Michelangelo supplied at least drawings for the figure of Lazarus and the two men supporting him (British Museum), but probably did not do any work on the painting itself, if only because he was only briefly in Rome during the time it was painted. When the two paintings were hung together in the Vatican, just after Raphael's death in 1520, both were praised, but the Raphael generally preferred, as has remained the case ever since.

In the early 1520s Sebastiano completed the Borgherini Chapel with a Transfiguration in the semi-dome above his Flagellation. The combination shows the influence of the Apocalipsis Nova, a contemporary text that prophesied the coming of an "Angelic Pastor" who would bring a new age of peace. Michelangelo was among many reformist Catholics interested in the text. The Flagellation represents "the current, corrupted state of Christianity and the Transfiguration the glorious future to come".

1520–1531
The death of Raphael in 1520, immediately before the exhibition of the two rival paintings intended for Narbonne, left Sebastiano clearly the leading painter operating in Rome. As his letters show, he immediately attempted to secure for himself the "Sala dei Pontefici", Raphael's next Vatican project, but was frustrated by Raphael's workshop, armed with the master's drawings, and his own inability to enlist Michelangelo's help, as the pope had told him to work exclusively on the long-promised Tomb of Pope Julius II. In the following years Sebastiano mostly avoided very large commissions for churches, and concentrated on portraits, where he had a considerable reputation, and religious easel paintings, such as his Visitation for France (1518–19, now Louvre), and his Madonna of the Veil (c. 1525), a very successful adaptation of Raphael's Madonna di Loreto. To both of these types he brought his refined monumental classicism.

His career in the decade was greatly impacted by outside events. In 1522 there was plague in Rome, and he may have left Rome for a long period; there is little evidence of his activity for over a year. In 1523 Giulio de Medici became Pope Clement VII, and thereafter Sebastiano seems to have been a part of Vatican court life. He painted a number of portraits of the pope, and other paintings for him. In 1527 he seems to have remained with the pope all through the horrors of the Sack of Rome and his nervous retreat to Orvieto, though he seems to have spent time in Venice in 1528 and perhaps 1529, his first known return there since 1511. This catastrophe brought to an end the High Renaissance epoch in Rome, scattering Raphael's workshop and the emerging Roman Mannerists, and largely destroying the confidence of patrons.

In 1531 the death of the previous holder allowed Sebastiano to press Pope Clement for the lucrative office of the "piombatore", which he obtained after promising to pay a fixed sum of 300 scudi annually to the other main contender, Giovanni da Udine, who was also a painter, from Raphael's workshop. To hold the position he had to take vows as a friar, despite having a wife and two children. After this his paintings, which are more often signed than dated, carry signatures such as "F(rater) Sebastianus Ven(etus)".

1532–1547
Sebastiano's artistic output reduced after taking the court role, though possibly not by as much as Vasari suggests. Large projects, even of a single painting, could take many years to complete, as with a Pieta for Spain. This was the last piece where Michelangelo helped him with a drawing. Vasari, probably much influenced by Michelangelo, places great emphasis on Sebastiano's turning away from art for a comfortable life as a well-paid courtier from this point, but may overstate the reality.

His friendship with Michelangelo came to an end in 1534, after a disagreement over the latter's Last Judgment in the Sistine Chapel. Sebastiano encouraged the pope to insist that this picture should be executed in oil on plaster, the technique he had developed and used. The enormous wall was prepared with the smooth plaster needed for this, with Michelangelo apparently acquiescent. There may even have been the idea floated that Sebastiano might do the painting to Michelangelo's designs. Michelangelo may also have tried painting in oils on the smooth surface. It is clear that several months after the idea of using oils first appeared, Michelangelo finally and furiously rejected it, and insisted that the whole wall be re-plastered in the rough arriccio needed as a base for fresco. It was on this occasion that he famously said that oil painting was "an art for women and for leisurely and idle people like Fra Sebastiano".

Two late projects for churches were never finished by Sebastiano. A large altarpiece of the Birth of the Virgin, still in Santa Maria del Popolo, Rome, was begun in the late 1530s but had to be finished after his death by Francesco Salviati. Before his death in 1541, the executor of Agostino Chigi's estate commissioned a large Visitation as a memorial, in Santa Maria della Pace, Rome. It was still half-finished at Sebastiano's death in 1547, and was eventually removed in the 17th century. Fragments with some of the over life-size main figures are at Alnwick Castle, in a style of impressive simplicity, the end point of a "tendency to over-generalize appearances and pictorial structures so that they verged on an effect of geometrical abstraction" that had been increasing apparent in his work since his early years in Rome.

Vasari records that he died after a short illness on 14 June 1547, at the age of 62. His will directed that he be buried very simply in Santa Maria del Popolo, with the savings from not having an elaborate burial given to the poor. After efforts by Daniele da Volterra his remains were moved in 1561 to the predecessor of the Rome Accademia di San Luca.

Technique
Sebastiano was trained in the Venetian tradition of rich, subtly varying, colours in oil painting. In the Raising of Lazarus (1517–1519) he used a very wide range of pigments, often in complicated mixtures, and the painting can be seen as a display of Venetian skill for the Roman critics, attempting to achieve "the greatest and most subtly varied range of colours ever seen in a single painting". He became less interested in colour as his career progressed, and many later works are rather sombre, with touches of bright colour.

His early works generally use the Venetian technique of freehand underdrawing on the surface to be painted, no doubt following a relatively approximate sketch, as was his technique for the Kingston Lacy Judgement of Solomon. But after some years in Rome he began to use full-size cartoons for frescos, which were pricked along the lines and then soot "pounced" through, to give dotted lines on the surface for the artist to follow. This technique, normal in Florence and Rome, was used in the fresco Transfiguration of the Borgherini Chapel, for which some pricked sheets survive. However, this was his last work in fresco.

From early on he was innovative and ready to experiment in compositional details as well as technique, with a special interest in painting in oils on new surfaces, whether plaster, stone, alabaster or slate. Though tending to be dark, several of his works with these unorthodox backings have survived well. Though he often covered the whole surface, leaving no indication of the support, some of his paintings on mineral sheets leave the background unpainted. This is the case with a small head of Clement VII in Naples, wearing the beard he always had as a penance after the Sack of Rome.

He made excellent drawings, nearly all as compositional sketches. He continued to prefer to draw on light blue paper in black chalk with white highlights, a Venetian habit. Few if any early ones survive, and he may have changed his methods to use more precise sketches under the influence of Michelangelo and Raphael. Few survive for his portraits. A British Museum "curator's comment" on one of their late drawings notes: "As so often with Sebastiano's drawings, the first impression is one of unrhythmic dryness; but the suggestion of atmosphere, the sensitively drawn contemplative faces and the subtle use of reflected lights and tonal transitions leave no doubt that [this] is from his own hand.

Pupils
Sebastiano seems to have followed Michelangelo in painting with "no more than merely mechanical assistance" from a studio, and had no significant pupils formed in his style. Whether this was a cause or result of his avoidance of large compositions and his court office from the 1530s we cannot know.

Personal life and relationship with Michelangelo
The main sources for his personality and habits are Vasari and surviving letters, mostly to and from Michelangelo. Vasari knew Sebastiano, but probably not very well; although he had been compiling material for some time, the first edition of his Lives did not appear until 1550, after Sebastiano's death, and it is not clear if he had specifically discussed the biography with Sebastiano. He knew Michelangelo rather better, and his description of Sebastiano is probably heavily influenced by the hostile attitude Michelangelo had towards Sebastiano after 1534. Vasari takes up much of his Life bemoaning Sebastiano's supposed indolence and neglect of his artistic talent for a comfortable and convivial life, at least after 1531.

Vasari says that in later life he lived in a fine house near the Piazza del Popolo, keeping a very good table, and often entertaining regular friends as well as visitors. He says he was always cheerful and humorous, and very good company. He became red-faced and rather fat, as the bearded portrait in the Lives suggests.

As described above, he had become close to Michelangelo by about 1515. Though they eventually fell out, few people were able to remain on good terms with Michelangelo for a period of nearly twenty years. In 1519 Michelangelo became godfather to Sebastiano's first son, Luciano, after which Sebastiano addressed his letters to "My dearest compare" ("godfather"). The relationship suffered a dip in 1520 when Sebastiano asked Michelangelo to write to Cardinal Bibbiena, a close friend of Pope Leo X, recommending Sebastiano for projects in the Vatican after Raphael's death. Michelangelo sent the letter a month or so later, which Sebastiano presented to the cardinal, without reading it. The letter was in very flippant terms, and Sebastiano complained that it became "practically the only topic of conversation at the Palace, and it makes everyone laugh". Nor did it work in getting Vatican commissions.

In 1521 he acted as Michelangelo's agent in the installation of the Risen Christ or Cristo della Minerva in Rome, which was botched by the assistant Michelangelo had sent. From 1525 there is a draft for an emotional letter by Michelangelo passing on praise for Sebastiano by one "Captain Cuio", who he had dined with. In 1531 Sebastiano writes a despondent letter describing how "I still don't feel I am the same Bastiano that I was before the Sack; I still don't feel in my right mind." The relationship never recovered from the argument over the Last Judgement in 1534, described above.

Selected works

 * Venetian period
 * Judgement of Solomon, Kingston Lacy, c. 1505–1510, unfinished
 * Altarpiece in San Giovanni Grisostomo, Venice (c. 1509)
 * Organ-shutters of San Bartolomeo, Venice, now Gallerie dell'Accademia, Venice
 * Portrait of a Young Woman as a Wise Virgin (1510) National Gallery of Art, Washington
 * Salome or Judith, 1510, National Gallery, London

 * Roman period
 * Polyphemus (1511) – fresco, Villa Farnesina, Rome
 * The Metamorphosis (1511) – fresco, Villa Farnesina, Rome
 * Christ Carrying the Cross, c. 1513–14, Prado
 * Martyrdom of St. Agatha – Palazzo Pitti, Florence
 * Portrait of a Man (c. 1515) – Oil on poplar, 115 x 94 cm, Museum of Fine Arts, Budapest
 * Portrait of a Girl (c. 1515) – Oil on wood, 52,5 x 42,8 cm, Museum of Fine Arts, Budapest
 * Portrait of a Warrior (c. 1515)
 * Cardinal Bandinello Sauli, His Secretary, and Two Geographers (1516) National Gallery of Art, Washington
 * Christ descending into Limbo – Prado Museum, Madrid, 1516
 * Transfiguration, Flagellation, saints and prophets San Pietro in Montorio, Rome, 1516–1524
 * A Prophet Addressed by an Angel (1516–17) National Gallery of Art, Washington
 * Pietà (c. 1517) – Panel painting, Museo Civico, Viterbo, Italy
 * The Raising of Lazarus (1519) National Gallery, London
 * Hoy Family (c. 1520) Burgos Cathedral
 * Portrait of a Humanist (1520) National Gallery, Washington D.C.
 * Portrait of Andrea Doria (1526) Galleria Doria Pamphilj, Rome
 * Portrait of Pope Clement VII (half-length, about 1526) Museo di Capodimonte, Naples
 * Portrait of Clement VII (with beard, c. 1531) – Oil on Slate 105.4 x 87.6 cm Getty Museum, Los Angeles
 * Portrait head of Clement VII on slate, c. 1531, Museo di Capodimonte, Naples
 * Birth of the Virgin – Oil on peperino, Santa Maria del Popolo, Rome, never finished
 * Christ Carrying the Cross (1535–1540) – Oil on slate, 157 x 118 cm, Museum of Fine Arts, Budapest
 * A Lady as Saint Agatha, after 1530, as signed with "F." for "Frate". Probably 1540s, National Gallery, London
 * Visitation, originally Santa Maria della Pace, Rome, unfinished with 3 fragments now Alnwick Castle, 1540s

title: Sebastiano del Piombo


text:
User talk:Gjaa

==Unverified image.

Welcome to Wikipedia! Thanks for uploading the following image:

 * Image:Dugas.jpg

I notice it currently doesn't have an image copyright tag. Could you add one to let us know its copyright status? (You can use  : gfdlif you release it under the GNU Free Documentation License,   Fairuseif you claim fair use, and so on.) If you don't know what any of this means, just let me know at my talk page  where you got the image from, and I'll tag it for you. Thanks so much. Denni ☯ 04:23, 2004 Dec 13 (UTC)

P.S. You can help tag other images at Untagged_Images. Thanks again.

Non-free use disputed for Image:Dugas.jpg
Thanks for uploading Image:Dugas.jpg. However, there is a concern that the rationale you have provided for using this image under "fair use" may be invalid. Please read carefully the instructions at Non-free content and then go to the image description page and clarify why you think the image qualifies.

If it is determined that the image does not qualify under fair use, it will be deleted within a couple of days according to our Criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 03:29, 3 June 2007 (UTC)

title: User talk:Gjaa


text:
Father Goose

Father Goose may refer to:

Arts and entertainment

 * Father Goose (film), a 1964 World War II movie starring Cary Grant and Leslie Caron
 * Father Goose, an alternate title of Fly Away Home, a 1996 film
 * Father Goose, a character in some of L. Frank Baum's books
 * Father Goose: His Book, a collection of nonsense poetry for children by L. Frank Baum
 * Father Goose, a book by Chapman Mortimer that won the 1951 James Tait Black Memorial Prize for fiction
 * Father Goose, a fictional character on the TV series On My Block

People

 * "Father Goose", pen name and registered trademark of poet and children's author Charles Ghigna
 * "Father Goose", professional name of children's music artist Wayne Rhoden

title: Father Goose


text:
Area 88

Area 88 (エリア88) is a Japanese manga series by Kaoru Shintani serialized between 1979 and 1986. The story is about a young pilot named Shin Kazama and his experiences at Area 88, a mercenary air force base secluded in the desert of afghanistania. Shin goes from head of his class at a world-renowned aviation school, dating the beautiful daughter of an airline president, to a mercenary fighter pilot bound to Area 88 by a three-year contract that he was duped into signing by a jealous and competitive childhood friend. He is determined to earn $1.5 million to buy his way out of the obligation and return home, and killing becomes second nature to him as he quickly rises to the top rank at Area 88. Overwrought with shame and self-loathing for what he has become, Shin begins to question whether he is still fighting for survival, or, like his fellow mercenaries, for the sheer excitement and camaraderie of battle.

Area 88 was among the first three manga to be translated into English and published in North America. It had been adapted into an OVA in 1985, a video game in 1989 (released in North America as U.N. Squadron), and a 12-episode anime television series in 2004. It is also a brand of model aircraft in Japan. While it appeals to aviation fans for its realistic depictions of aircraft and aerial combat, it has also been critically acclaimed for its strong character development and Shintani's poignant storytelling, combining action, tragedy, romance, and comedy. In 1984, the manga received the Shogakukan Manga Award for shōnen.

Synopsis
Area 88 takes place in the fictional Middle Eastern kingdom of Aslan (alternatively transcribed as "Asran"). The government uses mercenary fighter pilots, stationed at the desert airbase Area 88, to fight its war and pays them for each enemy aircraft shot down. Each pilot's contract lasts three years; early cancellation costs $1.5 million. Deserting Area 88 is considered a capital offense punished by death.

The story follows ace pilot Shin Kazama as he attempts to serve out his contract to return to his fiancée in Japan. As the war progresses, Shin must face his shifting acceptance of the violence that fills his days. Among his compatriots at Area 88 are: Mickey Simon, a United States Navy veteran of the Vietnam War; McCoy, a greedy weapons dealer who sells the pilots everything they need; photojournalist Goh "Rocky" Mutsugi (Makoto Shinjou in the TV series); Danish pilot Greg Gates; and Lt. Colonel Saki Vashtar, a member of Aslan's royal family and the commander of Area 88.

Shin's past is told through flashbacks during the story. He and his best friend, Satoru Kanzaki, were up-and-coming airline pilots for Yamato Airlines, and Shin had started a relationship with the CEO's daughter, Ryoko Tsugumo. Jealous of Shin's success, Satoru tricked him into signing the contract that landed him in Area 88. While Shin fights in the bloody war, Satoru courts Ryoko and rises through the ranks of Yamato Airlines. Ryoko discovers Shin is still alive through one of Goh's/Makoto's photos and resolves to find him.

Endings
While each version of Area 88 shared the same basic premise and some story arcs, they each had key differences, most notably in the endings.

The original manga ending showed Shin returning to Japan, but having lost all memory of Area 88. The English-language version published by Eclipse Comics was left unfinished. In the three-episode OVA adaptation from 1985, Shin was discharged from service to escort the king of Aslan to Paris in exile. Despite being free and making contact with Ryoko, Shin flies back to Aslan, having changed in his time at Area 88. His ultimate fate is left uncertain. The 2004 TV series truncated the story to just after Shin lost his F-5E. In this version, Makoto, the photojournalist, was originally sent to Area 88 by Satoru to capture a photo of Shin dying to prove his death to Ryoko. Shin survives the events of the series and Makoto, swayed to help Shin, returns to Japan and derails Satoru's plot to marry Ryoko.

Aircraft
Many real-life aircraft are featured in the series, including combat, civilian, and experimental aircraft.

 * Attackers
 * A-1 Skyraider
 * A-4E/F Skyhawk
 * RA-5C Vigilante
 * A-6E Intruder
 * A-7E Corsair II
 * A-10A Thunderbolt II
 * OV-10A Bronco
 * Sea Harrier FRS Mk.1
 * AV-8A Harrier II
 * SEPECAT Jaguar
 * Blackburn Buccaneer
 * Yak-38 Forger
 * Cargo aircraft
 * C-1 Trader
 * C-47 Skytrain
 * C-130E Hercules
 * Fighters and interceptors
 * Dassault Mirage F1
 * Dassault Mirage 2000
 * English Electric Lightning
 * F-4J/E Phantom II
 * F-5A/E Freedom Fighter/Tiger II
 * F-8E Crusader
 * F-14A Tomcat
 * F-15A Eagle
 * F-16A Fighting Falcon
 * F-20A Tigershark
 * F-104G Starfighter
 * F-105D Thunderchief
 * F-100D Super Sabre
 * RF-101C Voodoo
 * F-111 Aardvark
 * F/A-18A Hornet
 * Fiat G.91
 * IAI Kfir
 * J35F Draken
 * Su-33 Flanker
 * MiG-17 Fresco
 * Mig-19 Farmer
 * MiG-21 Fishbed
 * MiG-23 Flogger
 * MiG-27D Flogger
 * Grumman X-29
 * Patrol aircraft
 * E-2 Hawkeye
 * S-2 Tracker
 * S-3 Viking
 * Trainers
 * T-6 Texan
 * T-38 Talon
 * Bombers
 * B-1 Lancer
 * B-52 Stratofortress
 * Tu-95 'Bear'
 * Civilian
 * MD-11
 * Boeing 747
 * Learjet
 * Cessna 150
 * Cessna 172
 * Helicopters
 * AH-1 Cobra
 * AH-64 Apache
 * CH-53 Sea Stallion
 * CH-54 Tarhe
 * UH-1 Iroquois
 * SA-341 Gazelle
 * SH-3 Sea King
 * OH-6 Cayuse
 * Bell 206 Jetranger

Manga
The original Japanese manga of Area 88 was serialized in 23 volumes between 1979 and 1986 by Shogakukan. Each volume was black and white with a painted color cover and contained several short stories called "missions". In all, there were 172 such missions across the 23 volumes. Shōnen Sunday later repackaged the 23 volumes into ten thick books under its Wide Volume product line.

Area 88, along with Mai, the Psychic Girl and The Legend of Kamui, was one of the first three manga to be translated to English and published in North America by Eclipse Comics and VIZ Media in May 1987. It was published bi-weekly with each issue containing a single mission, of which the editors had planned to release all 172. The first 28 issues featured covers from the original manga plus some original artwork by Shintani, but as these resources were limited, the covers of issues #29–36 featured stills from the OVA film. With issue #37 in December 1988, VIZ Media took over the series, and in addition to featuring photographs of actual fighter jets on the cover, the publication went from bi-weekly to monthly and the price from $1.50 to $1.75. The series did not adjust well to the dramatic change, and with issue #42 in May 1989, without resolving the storyline, it was canceled. It was later run as a feature in Viz's Animerica magazine (Vol. 1, No. 8 – Vol. 3, No. 2), but only lasted until January 1995 without the series being completed.

 * Shogakukan (Shonen Big Comics, 1979–1986)

 * Shogakukan (Shonen Big Comics Wide-ban, 1979–1986)

 * Scola (Scola Manga Bunko, 1994)

 * Media Factory (MF Bunko, 1999–2000)

 * Kadokawa/Media Factory (MF Comics, 2003–2004)

OVA films

Between February 5, 1985, and August 15, 1986, Studio Pierrot produced a direct-to-video animated film trilogy for VHS and laserdisc. In 1992, Central Park Media's U.S. Manga Corps released the OVA series, subtitled in English, in North America for VHS and laserdisc, and re-released the first volume for DVD on 14 July 2000.

After Central Park Media's films license lapsed, ADV Films published a two episode theatrical edit of the OVA trilogy for DVD on 25 July 2006. Although having one less episode, the episodes themselves are longer. They have been reedited so that episode II is divided and added onto the first and the last episode respectively. As such, nothing is actually missing from the ADV collection, despite having a smaller episode count. The 2006 ADV collection is a two-DVD set, and features the original Japanese soundtrack as well as the dubbed English track, performed by the same cast who voiced the English dub of the TV series. The DVD content also includes an interview with Kaoru Shintani, and an introduction to the fighter jets portrayed in the series.

Discotek Media re-released the OVA series on October 30, 2018.

Media

 * Area 88: Act I: Blue Skies of Betrayal (1985, VHS/LD; 1992, VHS; July 14, 2000, DVD)
 * Area 88: Act II: The Requirements of Wolves (1985, VHS/LD; 1992, VHS)
 * Area 88: Act III: Burning Mirage (1986, VHS/LD; 1992, VHS)
 * Area 88: Original OVA Series (July 25, 2006, DVD)

Anime television
An updated 12-episode anime television series with CG graphics, produced by TV Asahi, Animax, Group TAC and Media Factory, began production in 2003 and premiered across Japan on TV Asahi and the anime satellite television network, Animax from 8 January 2004 to 5 March 2004, which later aired the series across its other respective networks worldwide, including Hong Kong, Southeast Asia, South Asia, South Korea, Taiwan, and other regions. The series featured the work of several prominent contemporary trance music artists during combat scenes, such as Rank 1, DJ Tiësto, and Svenson & Gielen; official materials called these scenes the "highlight of the work". ADV Films licensed the series for North American distribution, releasing the series across the region, with the first DVD volume release being published on June 22, 2005 and the last volume being released on January 17, 2006. The DVD release notably removed the licensed trance music, replacing it with a handful of original compositions by Miyake Kazunori reused across the series. For the release of the English dub to English-speaking countries, the ADR team at ADV Films sought the assistance of Capt. Kevin "Dumpster" Divers, a USAF officer, to ensure that dialogue had proper Air Force jargon.

Video games
A shoot 'em up video game by Capcom was released in the arcades in 1989. It was released in the West as UN Squadron. Ports were released for the Amiga, Amstrad CPC, Atari ST, Commodore 64, Super NES and ZX Spectrum.

In the game, the player could choose either Shin, Mickey, or Greg as the pilot to play. Each came with a different plane and various advantages; for example, Mickey could handle air-to-air dogfights well while Greg excelled at air-to-ground attacks. Each pilot also had special abilities; Shin mastered normal weaponry at the highest speed, Mickey inflicted extra damage with his armaments, and Greg recovered from attacks almost before they occurred. The Super NES release offered six fighter planes, with the F-8 Crusader as the default aircraft. The game also included various elements from the series, such as the land carrier.

In 1995, Family Soft produced two Area 88 games for the PC-9801.

An October 2014 crossover event took place in Ace Combat Infinity where aircraft and emblems used by the main characters of Area 88 were added to the game. These included Shin's F-5 and F-20, Mickey's F-14, Greg's A-10, and Kim's AV-8.

Board game
Two special board games based on the franchise were released in the 1980s, but as so-called "Coterie" games, which are preordered editions and only go on limited sale at Japan's Game Market trade show. With mechanics based on the GDW board game Imperium, the Area 88 in Desert War and Peace in the Aslan Kingdom have the game counters, instructions and battle map (a fictional representation of the Sinai Peninsula) printed in standard bond paper, with players left to cut up the counters and attach them and the map in cardstock.

Toys/model kits
A line of Area 88 model kits was also produced, which are basically aircraft that are painted as they appeared in the series. Takara released a 1/100 line of aircraft kits, each with a 1/24 pilot figure in the early 1980s to coincide with the original manga stories. Kits included Shin's Crusader, F-5G Tiger II and F-20 Tigershark, Mickey's F-100 and F-14, Saki's Kfir, Greg's A-10, and two planes from the Counter-Governmental Air Force—a Yak-36 Forger and a MiG-27 Flogger-D.

The first release of 1/144 kits by Hasegawa in the early 1990s consisted of Mickey's F-14, Shin's F-8 and F-5, Seilane Balnock's Harrier, and Saki Vashtar's Kfir. Each kit had a 1/12 scale figure of the pilot in resin while the 1/144 plane kits were styrene plastic tooled up by Dragon models in Hong Kong. The third wave, released by Hasegawa in 1996, featured 1/72 kits of the same jets, but this time Hasegawa's own kit moldings were used. They comprised Saki's Kfir, Gregg's A-10, Shin's F-8, F-20, X-29 and Draken, and Mickey's F-14. Hasegawa also produced a 1/48 two-pack set in line with the 2004 TV series, consisting of Shin's F-8 and Mickey's F-14, plus a DVD.

From January 2004 to December 2005, trading figure company The Other Corp released a line of 1/144 gashapon miniatures of various modern military aircraft that are painted as according to their actual appearance in the series, despite one of the offerings—the Su-47 Berkut—never having appeared at all.

Soundtracks

 * Area 88 Opening Theme: Mission - Fuga

Reception
Martin A. Stever reviewed Area 88 movies for Space Gamer/Fantasy Gamer No. 83. Stever commented that "The art is impressive, especially the ability to render moving jet aircraft. True to real war, characters are killed with regularity but not without remorse."

Anime News Network praised Area 88's English dub released by ADV, especially with most of it done with the assistance of a consultant from the US Air Force. Freetype gave the series a 7.0 out of 10, citing "Intense, fast, adrenaline-pumping dogfight action", while criticizing it for being one-dimensional for lack of some character development, lack of emphasis on action with the morals and drama watered down.

title: Area 88


text:
User:Tattoology

Definition
tat·too·lo·gy (ology) n.

1. The scientific study of everything and anything related to tattoos and tattooing.

Archeology, Anthropology, Art history, History, Dermatology, Pathology & Forensics, Mechanical & Electrical Engineering, Physics, Psychology, Sociology, Philosophy, Chemistry, Religion, Cartography

About
What is Tattoology? Tattoology is the branch of knowledge that deals with both the ancient and modern practice of writing on the skin with indelible substances. Tattoology was coined in the year 2000 by Tattoologist Joshua Andrews, to aid the development of this newly emerging, multi-disciplinary inquiry into every facet of the world of tattooing.

In the last few years the branch of knowledge now known as Tattoology, has exploded in scope as more and more serious and concerted research is being done into all facets of tattoos and tattooing. Tattoology is increasingly being recognized within the academy to the extent that a new Tattoology paper is being published by institutionally recognized and respected scholars from various other disciplines every month.

title: User:Tattoology


text:
River Eye

There are two rivers of this name in Great Britain:
 * River Eye, Gloucestershire, England
 * River Eye, Leicestershire, England

title: River Eye


text:
UMH

UMH may refer to:
 * Miguel Hernández University of Elche, a Spanish university, located in the province of Alicante
 * Underwood-Memorial Hospital, a hospital in Woodbury, New Jersey, USA
 * The United Methodist Hymnal
 * University of Mons-Hainaut, a university in the French Community of Belgium
 * UMH group, an international multimedia group based in Ukraine

title: UMH


text:
Harvard Kenneth C. Griffin Graduate School of Arts and Sciences

The Kenneth C. Griffin Graduate School of Arts and Sciences (GSAS) is the largest of the twelve graduate schools of Harvard University, when measured by the number of degree-seeking students. Formed in 1872, GSAS is responsible for most of Harvard's graduate degree programs in the humanities, social sciences, and natural sciences. The school offers Master of Arts (AM), Master of Science (SM), and Doctor of Philosophy (PhD) degrees in approximately 58 disciplines.

Academic programs offered by the Harvard Graduate School of Arts and Sciences have consistently ranked at the top of graduate programs in the United States. The School's graduates include a diverse set of prominent public figures and academics. The vast majority of Harvard's Nobel Prize-winning alumni earned a degree at GSAS. In addition to scholars and scientists, GSAS graduates have become U.S. Cabinet Secretaries, Supreme Court Justices, foreign heads of state, and heads of government.

History and organization
GSAS was formally created as the Graduate Department of Harvard University in 1872 and was renamed the Graduate School of Harvard University in 1890. Women were not allowed to enroll in GSAS until 1962. In 2023, the GSAS was renamed after a $300 million donation from philanthropist Kenneth C. Griffin to the Faculty of Arts and Sciences.

The Graduate School of Arts and Sciences forms part of the Faculty of Arts and Sciences (FAS), along with Harvard College, the Harvard John A. Paulson School of Engineering and Applied Sciences, and the Harvard Division of Continuing Education. The dean of the Graduate School of Arts and Sciences, who reports to the dean of the Faculty of Arts and Sciences, is charged with the responsibility of implementing and supervising the policies of the faculty in the area of graduate education. In the administration of academic policy, the dean is guided by the Administrative Board and the Committee on Graduate Education. The dean is assisted by an administrative dean of GSAS, who has day-to-day responsibility for the operations of the school, a dean for admissions and financial aid, and a dean for student affairs. While the GSAS office oversees the processing of applications, financial aid and fellowships, thesis guidelines, and graduate student affairs, the individual departments in FAS retain considerable autonomy in the administration of their respective graduate programs.

The Faculty of Arts and Sciences oversees GSAS and is responsible for setting the conditions of admission, for providing courses of instruction for students, for directing their studies and examining them in their fields of study, for establishing and maintaining the requirements for its degrees and for making recommendations for those degrees to Harvard's Governing Boards, for laying down regulations for the governance of the school, and for supervising all its affairs. The dean of GSAS is responsible for implementing and supervising the policies of the faculty in the area of graduate education.

In addition to its own master's and PhD programs, GSAS nominally oversees the PhD programs in Harvard's professional schools: Harvard Business School, Harvard Divinity School, the Harvard Graduate School of Education, Harvard Medical School, the Harvard T. H. Chan School of Public Health, the Harvard Graduate School of Design, and the John F. Kennedy School of Government.

Academic programs
The Graduate School of Arts and Sciences offers many degree programs, including:

 * African and African American Studies
 * American Studies
 * Anthropology
 * Astronomy
 * Bioengineering
 * Biological Sciences in Public Health
 * Celtic Languages and Literatures
 * Chemistry and Chemical Biology
 * Computer Science
 * The Classics
 * Comparative Literature
 * Earth and Planetary Sciences
 * East Asian Languages and Civilizations
 * Economics
 * Engineering and Applied Sciences
 * English
 * Germanic Languages and Literatures
 * Government
 * History
 * History of Art and Architecture
 * History of Science
 * Human Evolutionary Biology
 * Linguistics
 * Mathematics
 * Middle Eastern Studies
 * Molecular and Cellular Biology
 * Music
 * Near Eastern Languages and Civilizations
 * Organismic and Evolutionary Biology
 * Philosophy
 * Physics
 * Psychology
 * Romance Languages and Literatures
 * Slavic Languages and Literatures
 * Sociology
 * South Asian Studies
 * Statistics
 * Stem Cell and Regenerative Biology

Student life
As of 2019, Harvard's Graduate School of Arts and Sciences had 4,521 students, with the vast majority (4,392 students) pursuing PhDs. 46% of GSAS students are women, 30% of students are international, and 12% are underrepresented minorities. 20% of GSAS students pursue degrees in humanities, 26% in social sciences, and the remaining 54% in natural sciences.

GSAS students have a dedicated space on Harvard Yard, known as The Student Center at Harvard Griffin GSAS at Lehman Hall. Graduate students who prefer to dine on-campus do so at the Student Center, which features a full-scale dining hall as well as a smaller cafe. The building also provides study and leisure spaces.

Financial aid
GSAS guarantees full funding for all PhD students for five years, which covers tuition, health fees, and living expenses. The PhD funding packages include a combination of tuition grants, stipends, traineeships, teaching fellowships, research assistantships, and other academic appointments. Although master's students are not guaranteed full funding, they often receive financial support covering at least half of tuition and fees.

Housing

As of 2017, Harvard's GSAS guarantees housing for all first-year graduate students, as long as the students apply for accommodations by April 22. GSAS offers housing through several on-campus residence halls, as well as Harvard-owned apartments, both on and off-campus. In addition, approximately 100 GSAS students live in Harvard's undergraduate houses and freshman dorms as resident tutors and proctors. GSAS residence halls include the following:

Conant Hall
Constructed in 1894, Conant Hall was designed by Shepley, Rutan and Coolidge, reflecting the Georgian architecture of freshman residences found around Harvard Yard. It was built with funds gifted by Edwin Conant, whose name the building currently bears. Originally consisting of 29 suites, Conant has since undergone numerous renovations and currently houses 84 single rooms.

Perkins Hall
Perkins Hall was built in 1893 according to the design of Shepley, Rutan and Coolidge. Consisting of 154 single rooms, Perkins is the oldest of the GSAS residence halls currently in use at Harvard. The funds for its construction were donated by Catharine Page Perkins, the widow of an oil tycoon, in memory of her husband's family. Perkins was originally intended to house undergraduate students from modest circumstances but as the number of graduate students increased, it was converted into a graduate residence. In the early 1900s, Perkins Hall was at the center of controversy involving "homosexual activity" at Harvard, and the university administration's attempts to suppress it, an affair that later became known as the Secret Court of 1920.

Richards Hall and Child Hall
Designed by the German modernist architect Walter Gropius, Richards and Child Halls were built in 1949. Richards is named after the Nobel Prize-winning chemist Theodore Richards, while Child Hall takes its name from Francis J. Child. The two residence halls are constructed on the former Jarvis Field, where the first American football game was played in 1874. Child Hall houses approximately 100 students and Richards Hall houses over 70. The lawn space includes Richard Lippold's “World Tree” sculpture, a 27-feet-tall steel construction designed to be climbed by students.


text:
Eye Water

Eye Water is a river in the Scottish Borders, it flows in a general southeasterly direction from its source in the Lammermuir Hills to its estuary at Eyemouth on the east coast of Scotland, having a length of approximately 35 km.

River course
The Eye Water rises on the eastern slopes of Wester Dod at height of 375 metres, it flows SE for 10 km before swinging NE for three km to reach the village of Grantshouse. The Eye Water flows on the southern outskirts of Grantshouse as it again turns SE and runs in a valley between Horseley Hill and Dalks Law alongside the A1 road and the East Coast Main Line railway. The river keeps to the SW side of the A1 passing through the villages of Reston and Ayton where it flows through a pleasant wooded valley on the Ayton Castle estate. The estate was planted with parkland trees when the present Scottish baronial style castle was built in 1851 and many of these remain around the river banks although part of the park has since been planted with mixed woodland.

The stretch of the river from Ayton onward previously had some pollution problems as a quantity of sewage effluent from the village of Ayton and Eymouth contaminated the Water. However, in 2005 Scottish Water completed work which collected the sewage from the villages and pumped it directly to the sewage treatment works at Eyemouth on the coast. At Ayton the Eye Water swings NNE for the final five km leg to its estuary. It runs under the A1 road in a wooded gorge and then receives its largest tributary on its northern bank, the Ale Water which rises on Coldingham Moor 10 km to the NW. The Eye Water enters Eyemouth where it flows on the east side of the harbour, with a stone built quay keeping it separate and forming the river's west bank before the Water eventually enters the harbour lower down near the life boat station.

1948 flood
On 12 August 1948 the Berwickshire region was hit by a calamitous flood when one third of the annual rainfall fell in just six days. The water flowed off the Lammermuir Hills causing the Eye Water and other rivers of the area to overflow and cause much damage. The low lying farm land around Ayton was turned into a large lake with the 18 m high embankment of the ECML railway acting as a dam. There were fears that the embankment would break and Eyemouth would be inundated. The embankment did hold but Eyemouth still received some damage, with reports saying that gales and the impact of the overflowing Eye Water had the “impact of a hurricane”. The flood caused the closure of the local Eyemouth Railway from 13 August 1948 to 29 June of the next year. Between Reston and Granthouse 7 railway bridges were washed away. Those on the ECML were replaced by military bridges, allowing goods trains to resume on 25 October and passenger on 1 November 1948. The temporary bridges weren't finally replaced until 21 May 1950.

title: Eye Water


text:
Talk:AVG

AVG (the game type) does not stand for "adult video game", as the page previously stated. In support of my edit, I offer as an example a Japanese site about Zork, in which interpreting AVG as "adult video game" is nonsensical.

changed warning put in by new editor (didn't seem appropriate for disambig page)Jonathan888 (talk) 00:19, 10 November 2005 (UTC)

title: Talk:AVG


text:
THOMAS

THOMAS was the first online database of United States Congress legislative information. A project of the Library of Congress, it was launched in January 1995 at the inception of the 104th Congress and retired on July 5, 2016; it has been superseded by Congress.gov.

Contents
The resource was a comprehensive, Internet-accessible source of information on the activities of Congress, including:

 * bills and resolutions
 * texts
 * summaries and status
 * voting results, including how individual members voted
 * Congressional Record, including the daily digest
 * presidential nominations
 * treaties

The database was named after Thomas Jefferson, who was the third President of the United States. "THOMAS" was an acronym for "The House [of Representatives] Open Multimedia Access System".

The website allowed users to share legislative information via several social networking sites, and there were proposals for an application programming interface.

Library of Congress Legislative Data Challenge
The Library of Congress created the Markup of US Legislation in Akoma Ntoso challenge in July 2013 to create representations of selected US bills using the most recent Akoma Ntoso standard within a couple months for a $5,000 prize, and the Legislative XML Data Mapping challenge in September 2013 to produce a data map for US bill XML and UK bill XML to the most recent Akoma Ntoso schema within a couple months for a $10,000 prize.
 * In December 2013, the Library of Congress announced "Jim Mangiafico as the winner of our first legislative data challenge, Markup of US Legislation in Akoma Ntoso and the $5,000 prize".
 * In February 2014, Jim Mangiafico and Garrett Schure as the winners of the Library of Congress Second Legislative Data Challenge.

title: THOMAS


text:
American Outlook

American Outlook is an American quarterly public policy magazine that discusses the pressing issues of current events. The first issue of the magazine appeared in September 1998. Published by Sagamore Institute of Indianapolis, Indiana, American Outlook is available in hard copy and online.

 * Staff
 * Jay F. Hein: editor in chief
 * Wesley Cate: managing editor
 * Beverly Saddler: production assistant

title: American Outlook


text: User talk:67.33.168.89

title: User talk:67.33.168.89


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Ontario Highway 420

King's Highway 420, commonly referred to as Highway 420, is a 400-series highway in the Canadian province of Ontario that connects the Queen Elizabeth Way (QEW) with downtown Niagara Falls. It continues east as a limited-access expressway named Niagara Regional Road 420 to connect with the Rainbow Bridge international crossing between Canada and the United States over the Niagara River; this was part of Highway 420 until 1998. West of the QEW, the freeway ends at an at-grade intersection with Montrose Road (Niagara Regional Road 98). The highway has a speed limit of 80 km/h, making it the only 400-series highway to have a speed limit less than 100 km/h for its entirety.

Originally constructed as a divided four-lane road with two roundabouts, the route of Highway 420 formed part of the QEW in 1940 initially as the southeastern terminus, but after the QEW extension from Niagara Falls to Fort Erie opened in 1941, this bypassed highway became a spur route designated as the Rainbow Bridge Approach. It was assigned a unique route number as part of the 400-series after being upgraded into a freeway in 1972, including construction of a large interchange with the QEW. In 1998, the section of Highway 420 east of Stanley Avenue was transferred to the responsibility of the Regional Municipality of Niagara and redesignated as Regional Road 420.

Route description
At 3.3 km, Highway 420 is the shortest 400-series highway, travelling through Niagara Falls from Montrose Road to Stanley Avenue, on the outskirts of the city's tourist district. East of Stanley Avenue (Regional Road 102) the highway becomes Niagara Regional Road 420 and is known as Falls Avenue and Newman Hill on approach to the Rainbow Bridge. This portion was designated a part of Highway 420 until 2000, when it was transferred to the City of Niagara Falls and the Regional Municipality of Niagara, although the Ministry of Transportation of Ontario (MTO) still assists with the maintenance of it under a Connecting Link agreement. East of Drummond Road, Highway 420 features stylized light fixtures with the letters "ER", which stand for Elizabeth Regina and are a tribute to Queen Elizabeth The Queen Mother.

Highway 420 begins in the west at a signalized intersection with Montrose Road (Regional Road 98), beyond which it continues as Watson Street through the residential neighbourhood of Greens Corners to Beaverdams Road (Regional Road 53). East of Montrose Road, the highway is a four lane roadway divided by a raised paved median, and passes north of a forest as it approaches a four-level interchange with the QEW. The five parclo ramps provide almost all directional movements, though the QEW off-ramps meet Highway 420 at at-grade intersections. These at-grade connections can be bypassed by a pair of connectors carried by a dual on-and-off ramp flyover that arcs over the CN rail line and the QEW Toronto-bound carriageway, directing Fort Erie-bound QEW traffic onto Highway 420 eastbound and westbound Highway 420 traffic onto the Toronto-bound QEW. Another set of ramps links Toronto-bound QEW traffic to Highway 420 eastbound and Highway 420 westbound to the Fort Erie-bound QEW.

East of the QEW, Highway encounters an interchange with Dorchester Road as both cross the Queenston-Chippawa Power Canal. This interchange was originally a traffic circle that was removed in the early 1970s. The numerous lanes from the QEW interchange to the west begin to converge between residential subdivisions east of Dorchester Road, gradually narrowing to four through lanes at the Drummond Road interchange. After passing beneath Portage Road, the route widens on approach to an at-grade intersection with Stanley Avenue. This intersection is the eastern end of both the freeway segment of the route and the signed King's Highway 420; east of Stanley Avenue the route is signed as Niagara Regional Road 420 and known as Falls Avenue.

Now separated by a landscaped median, the route progresses eastward, intersecting MacDonald Avenue and providing access to several residential and retail properties that adjoin the road. The route travels within a concrete trench and abruptly curves to the southeast as it passes beneath Victoria Avenue, with which there is a simple interchange. East of this point, the road was named Newman Hill until March 2012. Palmer Avenue and Ontario Avenue pass over the route as it descends a hill towards the Niagara Gorge. At the bottom, the route curves to the southwest, where it provides access to the Rainbow Bridge border crossing into the United States as well as the tourist district of the city.

Owing to its association with the number 420 in cannabis culture, Highway 420 is also the location for the annual Cannabis Conference and Protest, usually taking place sometime around April 20. The event includes a march beginning near Niagara Falls and travelling to Highway 420.

Rainbow Bridge Approach
The history of Highway 420 predates its designation by nearly 75 years, tied in with the crossing of the Niagara Gorge between the twin cities of Niagara Falls, Ontario and Niagara Falls, New York. The first level crossing between the two cities was the Honeymoon Bridge, constructed in 1898. The 14 m wide structure spanned 255 m between the Canadian and American sides, 58 m above the Niagara River. Its narrow design proved to be a fatal flaw, and on January 27, 1938, under the weight of a massive ice jam in the river, the structure collapsed. A day later, the owners of the previous bridge—the International Railway Company (IRC)—as well as Ontario Minister of Highways Thomas Baker McQuesten announced intentions to construct a new span; a long political battle ensued for several years over the merits of private or public ownership of border crossings. In the end, the Niagara Falls Bridge Commission (NFBC) paid the IRC $615,000 to purchase the right-of-way of the old bridge as well as the rights to construct the new one. The future Rainbow Bridge was dedicated by King George VI and Queen Elizabeth on June 7, 1939, just hours after the couple dedicated the QEW.

On May 16, 1940, Samuel Johnson, the vice-chair of the NFBC, and McQuesten, who along with his parliamentary role was chair of the commission, ceremonially turned the first sod for the new bridge using a two-handled shovel. Construction had begun two weeks earlier on May 4. The new bridge was assembled over the following 18 months; the design was prepared by New York engineering firm Waddell & Hardesty and supervised by the Edward Lupfer Corporation, the latter the designers of the Peace Bridge. The new structure was located 167 m downstream from the Honeymoon Bridge, as the gorge is slightly wider at that point, resulting in a 288 m span.

Meanwhile, McQuesten was overseeing construction of the QEW between Toronto and Fort Erie. The new dual highway, inspired by German Autobahns, was the first of its kind in Canada. The outbreak of World War II in September 1939 temporarily halted McQuesten's ambitions, as funding was quickly shifted to the war effort. As a result, construction on the new superhighway was put on hold south of Niagara Falls. McQuesten officially opened the QEW on August 23, 1940; the pavement ended south of Lundy's Lane. Despite the war, work began on a link between the opened QEW and the Rainbow Bridge through the centre of Niagara Falls. This link would not be completed in time for the opening of the new bridge.

On November 1, 1941, the Rainbow Bridge was officially opened during a simple ceremony. The oldest living couple known to have wed in Niagara Falls, a pair from Pennsylvania, were the first to cross, followed by a newlywed couple from Georgia. This symbolically tied the history of the two bridges together, and was followed by McQuesten and Johnson walking towards the centre of the structure from the Canadian and American sides, respectively, and shaking hands at the centre. Several pyrotechnic explosions at both ends capped the ceremony, and the bridge was opened to traffic.

Work continued on the four lane bridge approach throughout 1941, and by mid-1942 it was possible to drive directly from the bridge onto the QEW. The new link featured a traffic circle at Dorchester Road as well as at the QEW. At the time the new link was designated temporarily as part of the QEW (decades before receiving its own unique route number of Highway 420), as a result it was referred to by several names including the Queen Elizabeth Way Extension (and known by locals for decades as the "Queen E Extension") and the Rainbow Bridge Approach.

At the same time construction on QEW between Niagara Falls and Fort Erie, was underway, but the ongoing war delayed its completion. As an interim measure, four gravel lanes of the highway was opened during the summer of 1941, then two lanes of pavement were laid in 1946, and the four-lane extension was fully paved and opened on October 14, 1956. Bypassed by the new QEW extension to Fort Erie in 1941, the Niagara Falls bridge approach became a spur route that was no longer part of the QEW so it was officially named the Rainbow Bridge Approach for the next three decades.

Upgrade to freeway
During the mid-1960s, the Department of Highways examined the possibility of extending the freeway portion of the route east towards the Rainbow Bridge. They began to purchase properties lining Roberts Street in 1966. In 1971, construction began on a four-level interchange between the QEW and the Rainbow Bridge Approach. This removed the two traffic circles along the approach. The interchange between the QEW and Lundy's Lane (Highway 20) was also removed; instead, the Rainbow Bridge Approach ends with an at-grade intersection with Montrose Road which in turn connects to Lundy's Lane. By April 1972, the Rainbow Bridge Approach was designated as Highway 420.

In 1998, the Niagara Falls Transportation Study was released, recommending that Roberts Street be rebuilt as a gateway to the city as opposed to a freeway. Highway 420 east of Stanley Avenue was transferred to Niagara Region. In the early 2000s, Highway 420 from the QEW interchange to Drummond Road was reconstructed with high-mast lighting poles and an Ontario tall-wall concrete median Jersey barrier, similar to the upgrades that other high-traffic provincial freeways received around that time. The rest of the route from Drummond Road eastwards (including Regional Road 420) was instead upgraded to 15 m and 12 m decorative "ER" lightposts, to commemorate the route's historical status as the original routing of the QEW and its historical tie to the Queen Mother. The "ER" style lighting poles are themselves a historical decorative lighting pole model, discontinued decades earlier, that was revived originally for the early 2000s Highway 420 reconstruction and would also be later used for QEW's bridges in Mississauga, Oakville, and St. Catherines. The Drummond Road and Portage Road overpasses that originally built in 1941 and rehabilitated in the early 1970s were demolished in 2004; their new replacement bridges plus Highway 420's concrete median barrier feature decorative stone facades, which in combination with the "ER" light poles restores the heritage look that was lost in the 1970s reconstruction.

On September 23, 2010, Highway 420 was designated as the Niagara Veterans Memorial Highway. On January 31, 2012, Niagara Regional Council approved the renaming of Roberts Street and Newman Hill as an extension of Falls Avenue, beginning March 1. Prior to this, Falls Avenue curved into Newman Hill at the Rainbow Bridge.

In 2016, the flyovers of the Highway 420-QEW interchange were rehabilitated.

title: Ontario Highway 420