text:
Eric Close

Eric Close is an American actor, best known for his roles in television series, particularly as FBI agent Martin Fitzgerald in the CBS mystery drama Without a Trace (2002–2009) and Teddy Conrad in the ABC musical drama Nashville (2012–2017).

Early life
Close was born in Staten Island, New York. Close's father is an orthopedic surgeon. Close is the eldest of three brothers. His family moved to Indiana, then to Michigan, and finally settled in San Diego when Close was seven years old.

Close was a member of the Sigma Chi fraternity and graduated with a B.A. in communications from the University of Southern California in 1989.

Career
Close was interested in acting from an early age and had some stage experience in school, but did not decide to pursue an acting career until after college. His first role was in a theater production Rat Songs in L.A., after which he was offered parts in the crime drama American Me (1992) and the TV movie Safe House directed by Elena Mannus. He had a brief stint in daytime television when he played Sawyer Walker on the NBC daytime soap opera Santa Barbara from 1992 to 1993. He received a Soap Opera Digest Award nomination for Outstanding Male Newcomer for his role as Sawyer Walker on Santa Barbara. Close later starred on short-lived primetime shows such as McKenna (1994–1995), Dark Skies (1996–1997), The Magnificent Seven (1998–1999), Now and Again (1999–2000), and the Steven Spielberg miniseries production, Taken (2002). He starred on storyline online and read When Pigasso met Mootisse.

Close is best known for his role as Federal Bureau of Investigation agent Martin Fitzgerald on the CBS mystery drama Without a Trace. The show ran for seven seasons from September 26, 2002, to May 19, 2009. From 2011 to 2015, Close had a recurring role as Travis Tanner in the USA legal drama Suits, and starred as Michael Dorset in the short-lived CBS comedy-drama Chaos. In 2012, Close began co-starring with Connie Britton in the ABC musical drama Nashville as Teddy Conrad, initially the husband of country singer Rayna Jaymes (Britton) and later the mayor of Nashville.

title: Eric Close


text:
Talk:Illyrian Provinces

Untitled
What is "intendacny"?

Tabletop 06:51, 26 Feb 2005 (UTC)

 * Typo for "intendancy" :) --Joy [shallot]   11:06, 26 Feb 2005 (UTC)

preceding entity, succeeding entity
I'm removing Septinsular republic form the preceding entities, it seems to have no connection whatsoever - it was much more to the South. Likewise removing the United states of the Ionian islands, the latter day counterpart to the Septinsular republic - again, no real connection here, at least none that I can see. TomorrowTime (talk) 23:36, 10 February 2011 (UTC)

Battle of Vis or Battle of Lissa? Battle of Tarvis or Battle of Tarvisio?
What is the rule? We have to use the name of today (Vis and Tarvisio) or the name at the time of the Battle (Lissa and Tarvis)? I would suggest the name at the time of the battle. Anyway, once adopted, the rule has to be followed in all cases.--Deguef (talk) 17:11, 10 August 2013 (UTC)

The "occupation"
"The first occupation of the Slovene Lands in the Habsburg Monarchy by the French Revolutionary Army after the Battle of Tarvis in March 1797, led by General Napoleon Bonaparte, had caused huge civil disturbances."

Where is the source of this claim? Napoleonic forces were fully welcomed in Slovenia. — Preceding unsigned comment added by 194.165.114.203 (talk) 23:29, 1 February 2014 (UTC)

Assessment comment
Substituted at 18:47, 29 April 2016 (UTC)

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

title: Talk:Illyrian Provinces


text:
Talk:Anamorphic widescreen

Widescreen DVD
This sentence seems to have a problem:
 * Widescreen pictures on DVD are stored in a horizontally squeezed format, in order to maximize the available storage space, and not waste as much on storing the black letterboxing bars.

My understanding of the MPEG is that, being a compressed format, there would be no overhead for "storing the black letterboxing bars." Large black areas that never change wouldn't require much, if any, space to express. I can imagine that it might have an effect on processing time, depending on how the codec is implemented. Is there an MPEG subject-matter expert on hand to weigh in on this? Cleduc 3 July 2005 01:44 (UTC)

I don't remember whether I wrote the above sentence, but it's mainly pixels that would be wasted, rather than bytes of encoded video. If you letterbox a 16:9 video to 4:3, only about 75% of the vertical resolution actually contains picture. Encoding such a video to DVD, you'd be wasting 25% of your pixels on blackness, when they could be used for enhanced picture resolution. It's analogous to the first illustration, when 25% of the film surface is "wasted". I'll fix the sentence. -- Wapcaplet 3 July 2005 02:50 (UTC)

This discussion is probably beyond the scope of this article as we cannot influence the way commercial DVDs are being produced. To my understanding pixels would only be wasted if the target display has a higher resolution than PAL/NTSC and will upsample the picture. If the display is only capable of 720 px horizontal resolution then the picture simply has to be vertically downsampled again. And since the whole space of the data medium is being used anyways (as Cleduc noted) the 25% of "extra pixels" will take away bits from the rest of the stream decreasing its quality. I see anamorphic MPEG-2 DVDs heavily influenced by the technology of analogue storage and transmission of the past, similar to the still used interlaced frame format. I mean why would there be any need to decode and resample the picture afterwards if a stream of the right resolution can be created in the first place without any need to do resizing? The specification of DVD might have been kept simple by allowing only a fixed number of resolutions (PAL/NTSC and fractions of them) but this is not a physical limitation of video adapters or the data medium. But where's simplicity there if a post-decoding process is required?
 * Anamorphic widescreen DVDs store a stretched picture

It's worth to note that no quality will be gained if this stretching is digital from a 720*405 source. The footage must originally have 576 or more pixels of vertical resolution. (for PAL) -- J7n 04:57, 5 July 2006 (UTC)

aggreed, let's change it! Clemonsjw 21:46, 6 September 2007 (UTC)

Pixels and lines

 * "Anamorphic widescreen DVDs store a stretched picture, to make optimal use of vertical resolution, and to avoid wasting pixels on the black letterboxing bars."

This is incorrect as pixels are not used on NTSC signal, but lines of resolution. I have changed the sentence to reflect this:
 * Anamorphic widescreen DVDs store a stretched picture, to make optimal use of vertical resolution, and to avoid wasting lines of resolution on the black letterboxing bars.

Kether83 20:22, 28 December 2005 (UTC)

 * The section is about the DVD, not the NTSC standard. DVD is digital and its 720x480/576 resolution consists of pixels, so the statement was not incorrect. Shawnc 07:42, 30 December 2005 (UTC)

The use of "horizontal" and "vertical" causes confusion.
In the second paragraph of the article appears:

"To make full use of the available film, an anamorphic lens is used during recording; this lens effectively squeezes the picture horizontally so that (in the case of the common 2x anamorphosis lens) a frame twice as wide fills the available film area (Figure 2)."

I am confused by the use of the words "horizontally" and the linked use of "wide". Take the first. To all English speakers everywhere the word "horizontal" means "in a left/right, or East/West" direction. As in "the surface of a liquid is always horizontal", or "lie down on the bed in a horizontal position". Yet, in Figures 1 and 2, the image is manifestly being squeezed in a vertical direction. That is, the "force" doing the squeezing acts in a vertical (up/down, North/South") direction, from the sky to the ground, as when you put a "Jack-in-the-box" toy back in his box by squeezing him vertically. The only explanation for this bizarre way of description is to consider the strip of film in the figures as having been turned round 90 degrees and thus shown vertically in the Figures (from your head and dangling on the floor), it being perhaps the normal practice in the film industry to view film laid out left to right, in which case a film-maker would consider Figure 1 as being squeezed horizontally. But that way of looking at it follows merely because of the way in which he was holding the film and totally without regard to the fact that the image (the landscape) as presented in Figures 1 & 2 has undoubtedly been squeezed vertically (sky to ground). There can be no doubt about that. To state that such squeezing of the image, as you present it in the article to viewers of Wiki, is horizontal is incredibly confusing for non-experts trying to grasp the way in which the word "anamorphic" is used. People like me shooting widescreen video for DVD and TV display have no need of historical terms protruding from the age of film. I urge you to revise the use of these words in this article to make it more intelligible.

The beginning of the later section DVD Video may need amendment in the same way. The present wording "the player will send an anamorphic (horizontally squeezed) signal to the TV, which will compress the scanlines of the displayed image vertically !!! As it stands, this sentence is internally inconsistent and very confusing.

Steve Kirkby, 03/12/2006

 * This is somewhat confusing, especially since a vertically stretched image and a horizontally squeezed image may appear to be the same thing without appropriate reference.

 * In filmmaking, an anamorphic lens horizontally squeezes the image. There is no doubt about that - the vertical dimension remains unaffected while the horizontal field of view is expanded by the power of 2. This will, however, cause images which are not de-anamorphozed to look very thin, which the eye can mis-perceive as vertical stretching. However, the vertical dimension maintains itself while the horizontal is squeezed and unsqueezed. In other words, a 40 mm 2x anamorphic lens will have the same vertical field of view as a 40 mm spherical lens, but the horizontal field of view will be equivalent to a 20 mm spherical lens.

 * In the case of DVD anamorphic compression - which is an entirely digital process involving pixels, not optics - the image is vertically stretched in order to maximize the frame resolution by not wasting vertical resolution on black bars. The picture is then digitally scaled back to its correct aspect ratio when it goes out to the TV. There is no change in the actual horizontal resolution - only the vertical has been recompressed. This should result in higher picture quality, because more vertical resolution is given to the frame image instead of the black bars.

 * The truth is that these are two totally different concepts which only share the property of anamorphism (image stretching), and it might be a good suggestion to split these into separate articles, as they do not really have anything to do with one another directly. Girolamo Savonarola 01:09, 3 December 2006 (UTC)

Thank you. It seems clear now. Splitting the article in two is an excellent idea. The confusion seems to flow from what the eye perceives, as you mention. Squeezing or stretching an image horizontally has the same perceived effect respectively as stretching or squeezing it vertically. The confusion seems to lie in the actual, practical, historical (I am thinking of celluloid film here) way in which these alterations are made. In the video world the terms often used include (my definitions) "anamorphic image or clip: an image or video clip that is designed to be displayed in widescreen format but which is by default displayed in the 4:3 format unless the displaying device is instructed otherwise." "anamorphic flag: an item of data attached to or embedded in a video file used to instruct a displaying device to stretch the file's images from its 4:3 format to widescreen format". I often think that formal definitions of terms are not helpful in promoting understanding, being of more use to those who already understand the subject and are looking for guidance on the exact, expert, use of the term or to settle disputes. To promote understanding (that is, for newcomers) additional descriptions are better, especially those which use more words* and give examples, and also those which look at the matter from more than one angle as in the "definition" of software: "anything that you can drop on your foot"! an enlightening, additional, way of describing it which instantly lights the recipient's lamp of understanding. *May the patron saint of students protect them from the elegant brevity of an expert's description. Wiki does not fall into that trap.

Steve Kirkby 03/12/2006

 * Well, for simplicity's sake, you can think of it from the perspective of which dimension is considered more flexible: in film projection, all films tend to be projected at a constant height - the variation in aspect ratio is created purely by the width of the image displayed. So you'd compress the image along the horizontal axis. In video, however, the immobility of the screen edges means that the image width is kept constant and the aspect ratio is created by the height of the image (hence letterboxing). Therefore you'd compress along the vertical axis. This is all assuming that you're trying to keep the original aspect ratio and resolution, so things like pan and scan or zooming the image on a widescreen TV don't count, since they lose information - which is what anamorphic DVDs try to avoid. Girolamo Savonarola 16:36, 3 December 2006 (UTC)

Thank you. Steve Kirkby 03/12/2006

home theatre lens manufacturers?
Is it really useful to be listing these at all? jhawkinson 18:17, 13 March 2007 (UTC)

Don't know if I'm writing this in the correct place, but I figured a paragraph or two about additional anamorphic lenses used in home theatres for constant image height systems would fit in this article. —Preceding unsigned comment added by 195.27.17.6 (talk) 09:49, 14 April 2010 (UTC)

changes in brightness
All paragraphs within the Anamorphic lens enhancement heading are ambiguous and use language that is far too technical(which is fine, but the problem is that it fails to clarify and explain what they mean), especially when discussing changes in brightness. I suggest someone improve it.

Dr. Lucifer 23 June 2007 (UTC)

SCART
In the television section of the article it is stated that Sky digiboxes and other digital STBs use SCART to indicate whether the image is in 16:9 format. This is in fact incorrect. The widescreen marker is sent encoded as a digital signal in the analogue video feed. As susch the type of connection to the TV (SCART, composite, component or even RF) is not relevant. Wikipedia has an article on this: Widescreen signaling. Simon. —Preceding unsigned comment added by 80.177.14.78 (talk) 15:37, 9 February 2008 (UTC)

 * Not correct. The signal that flags the video as 16:9 format is carried on a specific pin of the SCART connector - specifically pin 8 where a voltage of 9-12 volts indicates 4:3 and a voltage of 5-8 volts indicates 16:9.  It so happens that the 16:9 format is also flagged by a series of pulses on the last blank line before the first active video line of the analogue video signal.  However, this latter arrangement only seems to be present on 625 line video (equivalent to 576i in the digital domain).  NTSC video (480i) is allegedly designed to carry the same information, but the NTSC video standard fails to mention it and no DVD player that I am aware of includes it when outputting NTSC (even though it does so with PAL).  This probably explains why 'PAL' DVDs correctly switch a TV to 16:9 mode and NTSC DVDs do not (when used with a connection other than SCART or HDMI). 109.153.242.10 (talk) 16:30, 13 January 2012 (UTC)

Graphics needed
The introduction needs a picture showing the difference between "normal" square pixels and rectangular pixels. Ben (talk) 01:07, 27 February 2009 (UTC)

Languages
I'm afraid, this article doesn't corresponds to articles in German, France, Japanese and Norway languages, which have hyperlinks from here. That articles corresponds to 'Anamorphic format' article. Runner1616 (talk) 05:29, 31 January 2012 (UTC)

Concave or convex?
As clarified in the above section about horizontal and vertical, "the vertical dimension maintains itself while the horizontal is squeezed and unsqueezed."

In the camera, light travels from subject to film and the image gets squeezed.

In the projector, light travels in the opposite direction, i.e. from film to screen, thus reversing the process and unsqueezing the image. It follows that the camera and the projector could use identical lenses. Such a lens would be described as spherically convex and cylindrically concave.

The second paragraph of the article implies that the squeezing and unsqueezing is achieved by using a concave lens on the camera and a CONVEX lens on the projector. This is misleading. — Preceding unsigned comment added by Mark Eliassen (talk • contribs) 02:52, 5 August 2014 (UTC)

vertically expanded or horizontally compressed
The first sentence of the lede says 'Anamorphic widescreen is a process by which a comparatively wide widescreen image is vertically expanded to fit into a storage medium' An IP editor asserts that it should say 'horizontally compressed', while I assert that the current definition, as also previously discussed on the talk page, is correct. Also, while this is about the process of electronically storing information on differently aspected pixels, and not on a direct medium like film, I think that while we are at it, where the lede sentence says '(photographic film, for example)' it should be changed to '(DVD, for example)', to further differentiate from the article Anamorphic format. I would appreciate any suggestions, comments, improvements. Thank-you David. moreno 72    03:23, 22 August 2016 (UTC)

 * Hello, I'm the IP editor. I think it should say 'horizontally compressed' instead of 'vertically stretched/expanded' because, at least for digital videos, stretching a lower resolution material into an higher resolution requires "generating" the missing pixels via interpolation of (or better, extrapolation from) the existing ones, so the result will be quite blurry and of relatively low quality, even if the best algorithms are being used. Instead, compressing as in reducing the horizontal resolution from 1024 to 720 (in case of PAL 576i material, or 854 to 720 for NTSC 480i material) won't make the resulting video too blurry. A fun fact is that PAL video is always horizontally compressed: a full 4:3 frame would be 768x576 pixels, instead of 720x576 which is 5:4. 4:3 NTSC video instead would be 640x480, so it gets inevitably horizontally stretched to 720x480. Digital horizontal compression is in fact used by today's SD digital television: the master feed is usually 1080i, and it is fed to the HD channel distribution more or less directly. Then the HD feed gets downscaled to 576i, but a 16:9 digital frame at 576i is 1024x576 pixels, so it also gets horizontally compressed into a 720x576 SD standards-compliant frame; and the relevant "widescreen" bits in the MPEG transport stream and/or codec extradata are set so that the set-top box will know how to render the image based on its settings. Then suppose that we have a set-top box connected to the TV via a classic PAL 576i analog video composite connection. For a 4:3 classic TV the STB will either further compress the image vertically (since the analog TV signal is also 720x576) so the image will be 720x404, and pad it with black bars (letterbox); or it will horizontally expand it to 1024x576 and then crop it to 720x576 (pan and scan). For a 16:9 TV the STB will just send the 16:9 picture as-is as 720x576 on the analog video link, and then the TV will expand the picture horizontally and then scale it to the native size of the LCD panel. (Actually analog video signals don't have an exact horizontal resolution expressed in pixels, but since the STB is digital then its video output will have a defined number of horizontal pixels before it gets converted to analog.) For film instead, if I recall correctly 'horizontally compress' and 'vertically stretch' can be considered equivalent, as it is done using optical lens, which do not obviously have a defined number of sampled image pixels. So, I think that always specifying 'horizontally compressed' is the best way. Or maybe what I said here could be somehow integrated in the article... I hope this helps. --2001:470:7C50:48FF:0:0:DEAD:BEEF (talk) 05:53, 22 August 2016 (UTC)

 * That's entirely correct, anamorphic widescreen is horizontally compressed and not vertically expanded in order not to lose resolucion. By the way this technical explanation for digital anamorphic video is quite perfect I'd say! --2A00:1508:1:F010:3F9B:C251:D8AB:8C0D (talk) 20:59, 22 April 2018 (UTC)

Paragraph deleted from Blu-ray video section
This was in the middle of the section, and appears to have nothing to do with the BD format. It's hard to tell if it should go somewhere else, or if somebody was just "trying to help".

" An electrically coded video line (referred to as a field) is used in analog video transmission, recording and CRT displays, this can be sampled by a process called digitization which in professional SD video tape recorders is done at a rate of 720 pixels per field. This relates to the bandwidth used in digital serial connections and have come to be inaccurately called "rectangular" pixels.  So called "square" pixels used to display 4:3 graphics and text on VGA CRTs are at 640×480 which excludes the sync pulses and blanking used in the field output.  Therefore, to display a NTSC SD 4:3 capture of 720×480 you would have to crop the 8 pixels that are used for blanking off of each side and then "anamorphic-ally" scale the result to 640×480.  Squeezing to create a 16:9 frame only does a good job of delivering widescreen with reasonable quality using standard 4:3 equipment when the compressed bit rate is high enough to avoid compression artifacts being noticed, as they are in a low rate MPEG-2 broadcast. "

Huw Powell (talk) 06:10, 14 January 2017 (UTC)

title: Talk:Anamorphic widescreen


text:
Talk:Ildjarn

Untitled
Who are Cody Makarewicz and Charly Bernstein? I don't think these were former musicians in Ildjarn as I have never heard of them and neither name is Norwegian or even Scandinavian. Apparently Cody Makarewicz was in the group from '92-'94 and Charly Bernstein on drums from '91 -'92. Can anyone shed some light on this? I am guessing this was vandalism, so I have removed it. --Rapunzel 06:52, 26 Feb 2005 (UTC)

External links modified
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title: Talk:Ildjarn


text:
User talk:Mjrosier

Thanks for experimenting with Wikipedia. Your test worked, and has been reverted or removed. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks. – ClockworkSoul 06:51, 26 Feb 2005 (UTC)

title: User talk:Mjrosier


text: User talk:81.79.148.202

title: User talk:81.79.148.202


text: File:Bloodandcho.jpg

title: File:Bloodandcho.jpg


text: User:Flamurai/Transclusion/Table

title: User:Flamurai/Transclusion/Table


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User:MechanicallySeparatedChicken

I've been contributing to Wikipedia anonymously for quite some time because I'm very uncomfortable having heated debates with strangers; I would rather they just edit my text and be done with it. However, I've decided to crawl out of my hole and try having a username again, if only for taking part in community discussions or to post my opinions on my talk page.

Then again, community discussions are where things get most heated, aren't they? Well, we'll see how things work out.

In the real world, I hold a BA in English writing, and a BS in Computer Science. So regardless of appearances, I'm actually quite competent in logical reasoning and the proper use of the English language. Ever since I found out that in the 1600s guys like Robert Lowth invented most of the nonsensical grammar rules I memorized in elementary school, I've been a whole-hearted descriptivist. But don't worry, I won't go around moving adverbs to the middle of infinitives when they've already been comfortably placed after the verb.

In high school, I made it to the National_Forensics_League national tournament twice; once for Student_Congress and once for Duo Interpretation, and I competed in nearly every other event at the local level. My experience performing and observing debates showed me how lousy a tool debate is for arriving at the truth. As a result, I prefer discussion rather than debate. As I use the words here, the primary difference between them is intent. In discussion, your goal is to get to the truth. In debate, your goal is to prove your opponent wrong. The main problem with this adversarial system is that debating is a skill like any other; a better debater will often win even if they're defending a weaker premise.

I don't have the time to write properly referenced articles, so I mostly fix broken windows and make minor improvements. I've got a few wikipeeves in particular that I like to fix, and they all revolve around making information more important than presentation:

 * Poorly titled wikilinks: The title of a wikilink should make it clear what clicking on it will take you to. Imperfect wikilink titles fall into several categories. I've seen a link where the title was a pun, and the link target was an article about what the pun meant. This is bad because a person clicking on the link wants to know about the pun, not the pun's target. Not to mention, a non-native speaker of English might be completely lost. The better thing to do in this case is to add a parenthetical explaining the pun, and put the link there. It ruins the joke, but people come to Wikipedia for information, not laughs. I've also seen link titles shortened to the point where they are one ambiguous word instead of several specific words, such as "set" as the link title for a link to "List of television shows set in Brazil". In this case, you can either reword the sentence so you can put in more explanatory words, you can again move the link to a parenthetical statement (like "see also List of television shows set in Brazil"), or you can move it down to the list of "see also" links at the bottom of the article.
 * Irony in articles: I love ironic humor in my daily life, both in the classical and the Alanis Morisette uses of the word "irony". But I don't think one should withhold information for the sake of irony in Wikipedia, since, again, people come here for information, not for irony. For instance, I've seen an article about a television show end with one of the lines from the opening monologue, just sitting right there in the text. This would have been funny to people familiar with the show, but meaningless to people who had come to the article to learn about the show. My solution was to put the line in quotes and explain that it was from the end of the opening monologue.
 * Withholding spoilers: Perhaps the majority of book and movie articles on Wikipedia withhold spoilers. The plot synopsis will end before getting to the final part of the story, often with some evocative cliffhanger sentence and sometimes even with a set of ellipses. However, people come to Wikipedia for information, not to be sold on a book or movie. Personally, I often come to Wikipedia to find out the ending of a book or movie without having to read it myself, and I think I'm not alone in this. So I try to fill in the ending on plot synopses when I get a chance, and I throw on a Spoiler tag. With the tag in place, people who want to know the premise of the book but not the end are duly warned and can just read the opening to the article instead of the plot synopsis. At the same time, people who want the full info on the book can get it. Everyone wins. Of course, it is debatable how much detail even a spoilered plot synopsis needs to go into. If you think I've been too lengthy, feel free to pare it down.

Of course, if you disagree with any edits I've made, please, revert them or change them as you see fit. I would prefer to see an explanatory comment; I go back and review my past edits from time to time so that I can learn from what others have done with them. I will never unrevert a change of mine which someone else has removed; instead, if I feel like they were in error, I'll post my reasoning on the talk page and let others decide if they want to put my changes back in place.

title: User:MechanicallySeparatedChicken


text:
User:Flamurai/Transclusion

This is a paragraph.

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title: User:Flamurai/Transclusion


text:
Marianne Jean-Baptiste

Marianne Raigipcien Jean-Baptiste (born 26 April 1967) is an English actress. She is known for her role in the 1996 film Secrets & Lies, for which she received acclaim and earned nominations for the Academy Award for Best Supporting Actress and the Golden Globe and BAFTA Award in the same category. Jean-Baptiste is also known for her role as Vivian Johnson on the television series Without a Trace from 2002 to 2009, and has since starred in television shows such as Blindspot (2015–2016) and Homecoming (2018).

Early life
Jean-Baptiste was born in London to a mother from Antigua and a father from Saint Lucia, growing up in Peckham. She attended St Saviour's and St Olave's secondary school. She was classically trained at the Royal Academy of Dramatic Art in London and performed at the Royal National Theatre. She was nominated for a 1994 Ian Charleson Award for her performance in William Shakespeare's Measure For Measure with theatre company Cheek by Jowl.

Career
Jean-Baptiste gained international acclaim for the Mike Leigh-directed drama Secrets & Lies (1996), receiving both Golden Globe and Academy Award for Best Supporting Actress nominations for her performance, becoming the first black British actress to be nominated for an Academy Award and the second black Briton to be nominated, succeeding Jaye Davidson. She had previously collaborated with Leigh onstage in It's a Great Big Shame (1993). She caused controversy when she accused the film industry of racism, noting that leading actors had been asked to attend the Cannes Film Festival, but despite her success, she was not invited.

A writer and composer, Jean-Baptiste recorded an album of blues songs and composed the musical score for Leigh's 1997 film Career Girls. In 1999, she performed in Paris in a French-language production by Peter Brook of The Suit (Le Costume), a one-act play by Barney Simon and Mothobi Mutloatse, based on the short story by Can Themba. She was also acclaimed for her role as Doreen Lawrence in The Murder of Stephen Lawrence (1999).

Jean-Baptiste relocated for work reasons to the U.S. and lives in Los Angeles with her husband and two daughters. She honed her American accent and starred in the American television series Without a Trace as FBI agent Vivian Johnson. More recently, the actress has appeared in such films as Takers (2010), Secrets in the Walls (2010) and Harry's Law (2012). She played Detroit police chief Karen Dean in RoboCop (2014).

She was praised for her stage performance in the 2013 National Theatre production of James Baldwin's play The Amen Corner, directed by Rufus Norris.

As a friend of Angela Bassett, Jean-Baptiste attended Women's Image Network Awards and on Bassett's behalf picked up an award, reading Bassett's poetic acceptance speech for her winning role in the 2013 film Betty & Coretta.

Other projects, contributions

 * When Love Speaks (2002, EMI Classics) – "Sonnet 15" ("When I consider everything that grows...")

title: Marianne Jean-Baptiste


text:
David LaChapelle

David LaChapelle (born March 11, 1963 ) is an American photographer, music video director, and film director. He is best known for his work in fashion and photography, which often references art history and sometimes conveys social messages. His photographic style has been described as "hyper-real and slyly subversive" and as "kitsch pop surrealism". Once called "the Fellini of photography", LaChapelle has worked for international publications and has had his work exhibited in commercial galleries and institutions around the world.

Early life
David LaChapelle was born in Hartford, Connecticut to Philip and Helga LaChapelle; he has a sister Sonja and a brother Philip. His mother was a refugee from Lithuania who arrived at Ellis Island in the early 1960s. His family lived in Hartford until he was 9 years old. He has said to have loved the public schools in Connecticut and thrived in their art program as a child and teenager, although he struggled with bullying growing up.

He and his family moved to Raleigh, North Carolina, where they lived until he was 14 years old, before returning north to Fairfield, Connecticut. He was bullied in his North Carolina school for his sexuality. When he was 15 years old, he ran away from home to become a busboy at Studio 54 in New York City.

Eventually he returned to North Carolina to enroll in the North Carolina School of the Arts.

His first photograph was of his mother Helga on a family vacation in Puerto Rico. LaChapelle credits his mother for influencing his art direction in the way she set up scenes for family photos in his youth.

Early fine-art photography
LaChapelle was affiliated in the 1980s with 303 Gallery which also exhibited artists such as Doug Aitken. After people from Interview magazine saw his work exhibited, LaChapelle was offered work with the magazine. When LaChapelle was 17 years old, he met Andy Warhol, who hired him as a photographer for Interview while he was still in high school. Warhol reportedly told LaChapelle "Do whatever you want. Just make sure everybody looks good." LaChapelle's images subsequently appeared on the covers and pages of magazines such as Details, GQ, i-D, The New York Times Magazine, Rolling Stone, The Face, Vanity Fair, Vogue Italia, and Vogue Paris.

LaChapelle's work has been called "meticulously created in a high-gloss, color-popping, hyper-realistic style", and his photos are known to, "crackle with subversive – or at least hilarious – ideas, rude energy and laughter. They are full of juicy life." In 1995 David LaChapelle shot the famous 'kissing sailors' advertisement for Diesel. It was staged at the peace celebration of World War II and became one of the first public advertisements showing a gay or lesbian couple kissing. Much of its controversy was due it being published at the height of the don't ask, don't tell debates in United States, which had led to the U.S. government to ban openly gay, lesbian, or bisexual persons from military service. In a long article published by frieze in 1996, the advertisement was credited for its "overarching tone of heavy-handed humor and sarcasm". In September 2011 when the don't ask, don't tell law was finally removed by President Barack Obama, Renzo Rosso, the founder and president of Diesel, who originally had approved and pushed for the advertisement, said "16 years ago people wouldn't stop complaining about this ad. Now it's finally accepted legally."

Awards
1995: "Best New Photographer of the Year" by French Photo and American Photo magazines 1996: “Photographer of the Year Award” at the VH-1 Fashion Awards “Applied Photography of the Year Award” from The International Center of Photography 1997: Best book Design 1998: Best “Cutting Edge Essay” and “Style Photography” at Life magazine’s Alfred Eisenstadt Awards for Magazine Photography 1999: Honored in the “Cover of the Year” 2000: Won "Best Video" for Moby's "Nature Blues" at the MTV Europe Music Award

Fine-art photography
Themes in LaChapelle's art photography, which he has developed in his Maui home, include salvation, redemption, paradise, and consumerism. It is clear that LaChapelle's moving in this, "new direction highlights his interest and understanding of both contemporary practice and art history".

LaChapelle's images "both bizarre and gorgeous have forged a singular style that is unique, original, and perfectly unmistakeable. " His photographs have been collected in a number of books. LaChapelle Land (1996) was selected as one of 101 "Seminal Photographic Books of the Twentieth Century" and is "highly valued by collectors". His second book, Hotel LaChapelle (1999), was described as a "garish, sexy, enchanting trip". Heaven to Hell (2006) featured "almost twice as many images as its predecessors", and "is an explosive compilation of new work by the visionary photographer." LaChapelle, Artists and Prostitutes (2006), a limited-edition, signed, numbered book contains 688 pages of photographs taken between 1985 and 2005. Artists and Prostitutes was published by Taschen and includes a photograph of the publisher Benedikt Taschen in a sadomasochism scene.

Exhibitions
In the last decade, LaChapelle has returned to a focus on fine art photography and has exhibited his work in several galleries and museums. LaChapelle has had solo museum exhibitions at the Barbican Museum in London (2002), Kausthaus Wien in Vienna (2002), Palazzo Reale in Milan (2007), Museo del Antiguo Colegio de San Ildefonso in Mexico City (2009), the Musee de La Monnaie in Paris (2009), the Museum of Contemporary Art in Taipei (2010), and the Tel Aviv Museum of Art in Israel (2010).

By 2011, LaChapelle had an exhibition at the Lever House in New York and retrospectives at the Museo Arte Contemporáneo de Puerto Rico, the Hanagaram Design Museum in Seoul, and Galerie Rudolfinum in Prague. In the following years, LaChapelle's works were also exhibited at the Los Angeles County Museum of Art in LA (2012), the Musée d'Orsay in Paris (2013), Fotografiska Museet in Sweden (2013) and the National Portrait Gallery in Washington D.C. (2014).

In 2014, LaChapelle exhibited his series, 'Land Scape' in New York, Vienna, London, and Paris. Other shows include OstLicht Galerie fur Fotografie in Vienna, Austria, MAC Lima in Peru, Palazzo delle Esposizioni in Rome, and Museo de Arte Contemporáneo in Chile. In 2016, LaChapelle's work was shown at The Victoria and Albert Museum in London, DSC Gallery in the Czech Republic, at several venues in Montevideo in Uruguay and at the Edward Hopper House in New York. In 2018, LaChapelle exhibited ten of his series in one exhibition, Good News For Modern Man, in the Groninger Museum (The Netherlands).

Artistic influences
LaChapelle cites a number of artists who have influenced his photography. In a 2009 interview, he mentioned the Baroque painters Andrea Pozzo and Caravaggio as two of his favorites. A critic has noted that LaChapelle's work has been influenced by Salvador Dalí, Jeff Koons, Michelangelo, Cindy Sherman, and Andy Warhol. Richard Avedon noted that of all the photographers inventing surreal images, LaChapelle has the potential to be the genre's Magritte. Helmut Newton has also contributed to the discourse on LaChapelle, stating in a New York Times article by Cathy Horyn "He [LaChapelle] isn't very impressed by current photography. 'There's a lot of pornographic pictures taken by the young today ... A lot of the nudity is gratuitous. But someone who makes me laugh is David LaChapelle. I think he is very bright, very funny, and good'". LaChapelle is Catholic and often uses religious symbolism in his work.

Personal life
LaChapelle has bipolar disorder, but as he feels drugs do not work for him, he is careful to monitor his mental health. In the mid-1980s, he lost his boyfriend of the time to AIDS. He relocated to London, where that city's counterculture proved enormously influential in forming his aesthetic. "I thought I'd seen it all. When I went to London, the level of creativity and insanity ... they were on a whole other planet." He was particularly struck by that culture's insistence on originality, rather than copying. For him, Los Angeles had been "the literal opposite". While living in London, he married the female publicist of the UK popstar Marilyn; the marriage lasted a year.

In 2006, LaChapelle abruptly left Los Angeles. He moved to a "very isolated part of Hawaii in this forest. It's off the grid, bio-diesel cars, solar-powered, growing our own food, completely sustainable. I thought 'OK, I'm a farmer now. LaChapelle's change in path eventually brought him back to his roots. While in Hawaii, a longstanding colleague invited him to shoot for a gallery, which he had not done since his days as a fledgling photographer in New York. "I was really shocked", LaChapelle recalled. "I'm so known as a commercial artist, a big name as a fashion and celebrity photographer, I didn't think a gallery will take me seriously. It's like being reborn; it's like rebirth; it's like starting over. It's back to where I started, where I very first started in galleries when I was a kid. It's just come full circle."

Publications
*David LaChapelle: From Fashion Photography To Fine Art, Forbes Magazine ( Y-Jean Mun-Delsalle)
 * LaChapelle Land (New York: Simon & Schuster, in association with Callaway, 1996) - ISBN 0684833026
 * David LaChapelle Exhibition (Palazzo delle Esposizioni, 1999)
 * Hotel LaChapelle (Boston: Little, Brown, 1999) - ISBN 0821226363
 * David LaChapelle, Barbican Gallery (Barbican, 2002) ISBN 978-390-12471-1-8
 * David LaChapelle, If You Want Reality, Take the Bus (Artmosphere, 2003)
 * David LaChapelle, second edition (Milan: Photology, 2004) - ISBN 8888359141
 * LaChapelle Land, deluxe edition (New York: Channel Photographics, in association with Callaway, 2005) - ISBN 0976670801
 * LaChapelle, Artists and Prostitutes (Köln: Taschen, 2006) - ISBN 3822816175
 * David LaChapelle (Maurani & Noirhomme, 2006)
 * LaChapelle, Heaven to Hell (Köln: Taschen, 2006) - ISBN 3822825727
 * David LaChapelle (Firenze: Giunti, 2007) - ISBN 9788809057029
 * David LaChapelle: al Forte Belvedere (Firenze: Giunti, 2008) - ISBN 9788809062320
 * David LaChapelle (Hamburg: Stern Gruner + Jahr AG & Co., 2008) - ISBN 9783570197721
 * David LaChapelle: Jesus is My Homeboy (Robilant & Voena, 2008)
 * David LaChapelle: the Rape of Africa (Amsterdam: Reflex, 2009) - ISBN 9789071848070
 * David LaChapelle, Delirios de Razon (212 Production, 2009) ISBN 9786079530006
 * David LaChapelle, Moca Taipei Catalogue (Pascal de Sarthe & Fred Torres Collaborations for Taipei Culture Foundation/Museum of Contemporary Art, Taipei, 2010) ISBN 9789868529472
 * Taschen 30th Anniversary: Golden Book of the Year (Köln: Taschen, 2010) ISBN 9783836522847
 * David LaChapelle: Bliss Amongst Chaos (Fred Torres Collaborations, 2010) ISBN 9780615382043
 * David LaChapelle, Maybach: Going Places (Daimler AG, 2010)
 * Borders and Frontiers (Oakland University Art Gallery, 2011)
 * David LaChapelle, Earth Laughs in Flowers (Distanz Verlag, 2011) ISBN 9783942405294
 * David LaChapelle: Lost and Found (Pavleye Art and Culture, 2011) ISBN 9788090500600
 * Nosotros: La Humanidad Al Borde (Museo de Arte Contemporaneo de Puerto Rico, 2011) ISBN 9781881723066
 * Thus Spoke LaChapelle (Arbor vitae, Revnice, and Pavleye Art & Culture, 2011) ISBN 9788087164860
 * LaChapelle: Exhibition at Robilant & Voena, London (Robilant & Voena, 2012) ISBN 9780956365064
 * David LaChapelle: Earth Laughs in Flowers (Fred Torres Collaboration, 2012)
 * David LaChapelle: In Seoul (Fred Torres Collaborations and de Sarthe Gallery, 2012)
 * Burning Beauty (BankerWessel, Elanders Faith & Hassler, and Fotografiska) ISBN 9789186741020
 * Still Life (Galerie Daniel Templon and Communic'Art, 2013) ISBN 9782917515129
 * Land Scape: At Paul Kasmin Gallery (Damiani, 2013) ISBN 9788862083317
 * David LaChapelle, Land Scape: At Robilant & Voena (Pure Print, 2014) ISBN 9780957428423
 * Once in the Garden at OstLicht: Galerie fur Fotografie, (Brandstatter Verlag, 2014) ISBN 9783850338257
 * David LaChapelle: Fotografia1s, (Tarea Asociacion Gradica Educativa, 2015) ISBN 9786124657320
 * David LaChapelle: Dopo il Dilulvio, (Giunti Arte Mostre Musei, 2015) ISBN 9788809816077
 * Botticelli Reimagined (Harry N. Abrams, 2016) ISBN 9781851778706
 * Lost + Found Part I, Taschen, 2017
 * Good News Part II, Taschen, 2017

Films

 * Krumped (2004)
 * Rize (2005)
 * Unity (2015) – Narrator

Videography

 * Penny Ford – "I'll Be There" (1994)
 * Space Monkeys – "Sugar Cane" (1997)
 * The Dandy Warhols – "Not If You Were the Last Junkie on Earth" (1998)
 * Kelis – "Good Stuff" (2000)
 * Moby – "Natural Blues" (2000)
 * Enrique Iglesias – "Sad Eyes" (2000)
 * Elton John – "This Train Don't Stop There Anymore" (2001)
 * Mariah Carey featuring Da Brat and Ludacris – "Loverboy" (2001)
 * Elton John – "Original Sin" (2002)
 * The Vines – "Outtathaway!" (2002)
 * Christina Aguilera featuring Redman – "Dirrty"  (2002)
 * Avril Lavigne – "I'm with You" (2002)
 * Jennifer Lopez – "I'm Glad"  (2002)
 * Whitney Houston – "Try It on My Own" (2003)
 * Christina Aguilera featuring Lil' Kim – "Can't Hold Us Down" (2003)
 * Macy Gray – "She Ain't Right for You" (2003)
 * Christina Aguilera – "The Voice Within" (2003)
 * Blink-182 – "Feeling This" (2003)
 * No Doubt – "It's My Life" (2003)
 * Britney Spears – "Everytime" (2004)
 * Joss Stone – "Super Duper Love (Are You Diggin' on Me)" (2004)
 * Norah Jones – "Those Sweet Words" (2004)
 * Elton John – "Answer in the Sky" (2004)
 * Gwen Stefani featuring Eve – "Rich Girl" (2004)
 * Robbie Williams – "Advertising Space" (2005)
 * Elton John – "Someone Saved My Life Tonight" (2006)
 * Amy Winehouse – "Tears Dry on Their Own" (2007)
 * Jennifer Lopez – "Do It Well" (2007)
 * Florence and the Machine – "Spectrum (Say My Name)" (2012)
 * Mariah Carey – "Almost Home" (2013)
 * Daphne Guinness – "Evening in Space" (2013)
 * Queen featuring Michael Jackson – "There Must Be More to Life Than This" (2014)
 * Hozier – "Take Me to Church" (2015)
 * Britney Spears - "Make Me..." (Unreleased) (2016)

Exhibitions

 * 2009: Delirios de Razón (Delusions of Reason), Museo de Las Artes, Guadalajara, Mexico
 * 2010: Postmodern Pop Photography, Tel Aviv Museum of Art, Tel Aviv, Israel
 * 2010: David LaChapelle at Museum of Contemporary Art Taipei, Taiwan
 * 2011: Thus Spoke LaChapelle, Galerie Rudolfinum, Prague, Czech Republic
 * 2012: Burning Beauty, Fotografiska Museet, Stockholm, Sweden
 * 2015: David LaChapelle: Dopo Il Diluvio, Palazzo Delle Esposizioni, Rome, Italy
 * 2016: David LaChapelle: Gas Stations, Edward Hopper House, Nyack, New York
 * 2016: David LaChapelle: Inscape of Beauty, Ara Modern Art Museum, Seoul, Republic of Korea
 * 2017: David LaChapelle: Lost + Found, Casa dei Tre Oci, Venice, Italy

Awards

 * Doctorate in Fine Arts (Hon.) from UNCSA, 2015
 * Young Photographers Alliance Lifetime Achievement Award
 * Artist of the Year, American Friends of the Tel Aviv Museum of Art, 2012
 * National Geographic Photography Seminar, Featured Speaker, 2012
 * GLAAD Vito Russo Award for Outstanding Contributions Toward Eliminating Homophobia, 2006
 * 13th Annual MVPA Awards- Winner, Director of the Year- Best Rock Video of the Year for No Doubt's "It's My Life", 2004
 * Special Juried Prize Mountain Film, Telluride, 2004
 * Special Juried Recognition, Sundance Film Festival, 2004
 * Best Documentary, Aspen Film Festival, 2004
 * 12th Annual MVPA Awards, Adult Contemporary Video of the Year, Elton John's "This Train Don't Stop There Anymore", 2003
 * Best Video for Moby's "Natural Blues", the MTV Europe Music Awards, 2000
 * Best "Cutting Edge Essay" and "Style Photography" at Life magazine's Alfred Eisenstaedt Awards for Magazine Photography (the Eisies)
 * Art Directors Club Award for Best Book Design for LaChapelle Land, 1997

Public collections

 * Bayerische Staatsoper Portrait Gallery, Munich, Germany
 * Los Angeles County Museum of Art, Los Angeles, CA
 * National Portrait Gallery, London, UK
 * Tel Aviv Museum of Art, Tel Aviv, Israel

title: David LaChapelle


text:
Altitude tent

An altitude tent is a sealed tent used to simulate a higher altitude with reduced oxygen. Living or training at altitude causes the body to adapt to the lower oxygen content by producing more oxygen-carrying red blood cells and hemoglobin, thus causing the body to adapt to the higher altitude and enhancing performance when returning to a lower altitude. Mountain climbers can use them to avoid altitude sickness, and athletes can use them to enhance performance at lower altitudes.

History
Altitude tents were first marketed in the mid-1990s, and are provided by many different companies in a number of designs.

Rationale
Sleeping in a simulated altitude environment allows the body to achieve some of the positive adaptations to altitude while still permitting the athlete to perform workouts at an oxygen-rich lower altitude where muscles can perform at their normal work level. An altitude tent is one way to enable athletes living at any elevation to sleep in a high altitude-like environment. A more expensive option gaining popularity amongst professional athletes is to convert their entire bedroom to altitude.

Operation
Rather than simulating altitude with low air pressure (which would require substantial engineering and the use of an airlock to prevent implosion), the altitude tent remains at the ambient air pressure, substituting low pressure with low concentration of oxygen. While normal air contains 20.9% oxygen independent of altitude, the air in an altitude tent contains as little as 12% oxygen (the remainder being nitrogen). The partial pressure of oxygen inside the tent is the same as it is at the natural elevation that the tent is simulating.

Most altitude tents are normobaric, which means they create a low-oxygen environment with a “hypoxic air generator” outside the tent pumping the hypoxic (low oxygen) air into the tent which replaces some of the oxygen with nitrogen. The more oxygen-rich air inside the tent is displaced and with it, the excess carbon dioxide exhaled by the occupant(s). Most athletes use altitudes between 8,000 and 15,000 feet. To cause a physiological response, the altitude must be sufficient to reduce blood oxygen saturation (sometimes measured by a pulse oximeter) to approximately 90%.

In preparation to mountaineering, short-term use (1 week) of an altitude tent for overnight exposure (7.5 hours per night at 3000 m) prior to ascent to actual altitude can increase blood oxygen saturation during sleep and lessen symptoms of acute mountain sickness upon waking, but does not improve exercise performance at altitude.

Types of altitude tents
The tents themselves come in several styles. Unlike camping tents, altitude tents cannot have much ventilation and often substitute clear plastic windows for the typical nylon and mesh vents. Displaced air escapes the tent through small outlets, seams, or zippers. Air delivery can be through hoses long enough to allow the generator to be placed in a different room, reducing noise. Smaller tents are placed on the bed, with the floor of the tent between mattress and box springs. Larger tents are of a cube shape, often tall enough to stand up in, and set up on the floor with the entire bed, and often a nightstand or two, placed inside. One or more zippered doors allow the occupants to enter and exit with limited loss of effective altitude.

One challenge with altitude tents is the buildup of heat and humidity. Because of the use of plastic panels to reduce exchange with the room, heat and humidity can build up in an altitude tent. Some tents allow the use of air conditioners to maintain comfortable conditions. Carbon dioxide from the exhaled air can also build up to uncomfortable levels if air exchange is too low. In recent years, advances in altitude tent design, and in the performance of the hypoxic air-supply units, have all resulted in greater air-exchange and significantly lower noise levels.

Debate
The ethics of the use of these devices by athletes has been discussed by the World Anti-Doping Agency (WADA), which claimed that it could be equivalent to blood doping and therefore they should be banned; however, on September 16, 2006, Dick Pound of the WADA announced that "…the overwhelming consensus of our health, medicine and research committees – was that, at this time, it is not appropriate to do so."

The USADA report on doping in the Lance Armstrong case also indicates that sleeping in an altitude tent can be used to hide doping using erythropoietin (EPO), as natural EPO production is increased, confusing the tests.

title: Altitude tent


text:
Rufous-breasted wren

The rufous-breasted wren (Pheugopedius rutilus) is a small songbird of the family Troglodytidae. It is found in Colombia, Costa Rica, Panama, Trinidad and Tobago, and Venezuela.

Taxonomy and systematics
The rufous-breasted wren was formerly placed in the genus Thryothorus which in the old, broad sense was a motley assemblage of similar-looking wrens. Since being moved into genus Pheugopedius it has at times been treated as conspecific with speckle-breasted wren (P. sclateri) and spot-breasted wren (P. maculipectus). They do form a superspecies.

The rufous-breasted wren has seven subspecies:

 * P. r. hyperythrus Salvin & Godman (1880)
 * P. r. tobagensis Hellmayr (1921)
 * P. r. rutilus Vieillot (1819)
 * P. r. intensus Todd (1932)
 * P. r. laetus Bangs (1898)
 * P. r. interior Todd (1932)
 * P. r. hypospodius Salvin & Godman (1880)

Description
Adult rufous-breasted wrens of the nominate subspecies are 14 cm long and weigh 13.5 to 18.5 g. Their crowns and upperparts are warm brown; their tail is gray-brown with heavy dark brown bars. They have a white supercilium with a black edge above it. Their face and throat are speckled black and white. The chest is bright chestnut. The rest of the underparts a duller chestnut with a grayish white center to the belly. Juveniles are duller than the adults and the facial markings are less distinct. The facial pattern and rufous breast are unique in the genus.

P. r. hyperythrus is similar to the nominate with the addition of blackish spots on the chest. P. r. laetus also has blackish spots but its underparts are colored richer than those of hyperythrus. P. r. hypospodius compared to the nominate is more reddish on the crown and back and its chest is more tawny and the flanks duller. P. r. interiors underparts are pale ochre and its flanks pale olive brown. P. r. intensus is more richly colored than the nominate and often has some spotting. P. r. tobagensis bill is heavier than the nominate's; it also has longer wings and a duller chest.

Distribution and habitat
The subspecies of rufous-breasted wren are found thus:

 * P. r. hyperythrus, Pacific slope of Costa Rica and western Panama
 * P. r. tobagensis, Tobago
 * P. r. rutilus, the Coastal Range of northern Venezuela, both slopes of the Andes of northwestern Venezuela, and Trinidad
 * P. r. intensus, southwestern Venezuela's Táchira state
 * P. r. laetus, far northern Colombia and adjacent northern Venezuela
 * P. r. interior, western slope of Colombia's Eastern Andes
 * P. r. hypospodius, eastern slope of Colombia's Eastern Andes

The species inhabits rainforest and cloudforest, preferring thickets, second growth, and edges to the forest interior. In elevation it ranges from sea level to 1900 m.

Feeding
The rufous-breasted wren forages in pairs or family groups, usually in the undergrowth but sometimes much higher in trees. It primarily eats insects (mainly beetles, bugs and flies) and spiders but has been reported to eat seeds and occasionally frogs and lizards as well.

Breeding
The rufous-breasted wren's nest is a large sphere of leaves and grass with a side entrance, concealed in tangled vegetation as high as 12 m above ground. The female incubates the clutch of two to four eggs. Only the female incubates the eggs but both parents feed the nestlings.

Vocalization
The rufous-breasted wren's songs vary throughout its range. Both sexes sing as a duet but sometimes the male sings alone. Some examples of songs are (Costa Rica), (Panama) , (Colombia) , (Venezuela) , and (Trinidad). Its call, "churring and raspy", does not seem to vary as much.

Status
The IUCN has assessed the rufous-breasted wren as being of Least Concern. It is considered common through much of its range and occurs in several protected areas.

title: Rufous-breasted wren


text:
Poppy Montgomery

Poppy Montgomery (born Poppy Petal Emma Elizabeth Deveraux Donahue; June 15, 1972) is an Australian-American actress. She played FBI agent Samantha Spade on the CBS mystery drama Without a Trace from 2002 to 2009 and played Detective Carrie Wells on the CBS/A&E police drama Unforgettable from 2011 to 2016.

Early life
Montgomery was born in Sydney, New South Wales, Australia, to mother Nicola (née Montgomery), an executive and market researcher, and father Phil Donahue, a restaurateur. She is one of six children. Her parents named all their daughters after flowers – Poppy, Rosie, Daisy, Lily and Marigold – and their son, Jethro Tull, after the rock band Jethro Tull.

Montgomery disliked school, being expelled from six private academies before finally dropping out at the age of 15 to pursue stage acting and to travel around Bali with her then-boyfriend. Montgomery emigrated to the United States at the age of 18, arriving in Florida to meet a boyfriend whom she had met when he was an exchange student. After five days, she realised that "[she] couldn't stand him" and took a bus to Los Angeles to pursue an acting career.

Career
When Montgomery moved to Los Angeles, she stayed with two of her brother's friends while sending a head shot every day to Julia Roberts's former manager, Bob McGowan, until he signed her. She appeared in several small television roles during the late 1990s, including on NYPD Blue.

Montgomery's big break was winning the role of Marilyn Monroe in the 2001 CBS miniseries Blonde, based on a Joyce Carol Oates novel. The next role she was offered was a starring role as Samantha Spade on the CBS mystery drama Without a Trace. The series revolved around a missing-persons unit of the FBI in New York City. On being offered the part, she later said, "They (the producers) called me up and said, 'Will you do it?' I said, 'Um' and they said, 'Anthony LaPaglia is in it' and I said, 'sure'. It was that simple." Montgomery portrayed Samantha Spade for seven seasons, from when the show began on 26 September 2002 until it ended on 19 May 2009.

In April 2011, Montgomery completed filming a television biographical film Magic Beyond Words, appearing as Harry Potter author J. K. Rowling.

The same year, she began starring in the CBS police drama Unforgettable as Carrie Wells, a former homicide detective who is convinced to join the NYPD in Queens by her ex-boyfriend after she leaves Syracuse because the investigation into her sister's murder was shut down. The character has hyperthymesia, which allows her to have perfect recall, and she uses her memory to solve crimes. The first season, with 22 episodes, ran from September 2011 until May 2012, and CBS initially cancelled the show on 12 May 2012. Unforgettable was later renewed for a second season, with 13 episodes running from July 2013 to May 2014, and a third season, with 13 episodes running from June 2014 to September 2014. In October 2014, after the third season's conclusion, CBS cancelled the series again. In February 2015, A&E picked up the series for a fourth season of 13 episodes. The season ran on A&E from November 2015 to January 2016, and the series was cancelled in February 2016.

Montgomery posed in a series of provocative photographs on Maxim's website in their "Girls of Maxim" feature.

Personal life
Montgomery met actor Adam Kaufman in 2005 in Mexico while working on the independent film Between, and in 2010, they worked together again in the TV film Lying to be Perfect. In 2007, Kaufman began a recurring role on Without a Trace in the season-five episode "At Rest" as Brian Donovan, Samantha's love interest for the rest of the series. In June 2007, Montgomery announced her pregnancy with Kaufman, which was written into season six. On 23 December 2007, she gave birth to their son Jackson Phillip. Montgomery's Without a Trace co-star Anthony LaPaglia became Jackson's godfather. On 10 October 2011 in Life & Style, Montgomery and Kaufman were reported to have separated.

In late 2011, Montgomery began dating Shawn Sanford, director of lifestyle marketing for Microsoft, whom she met in Puerto Rico. In April 2013, she gave birth to their daughter, Violet Grace. In November 2014, she gave birth to their son Gus Monroe. On the 4 April 2014 episode of Live! with Kelly and Michael, Montgomery revealed that on Chinese New Year, she and Sanford were married at Disneyland in a ceremony with their children present.

Montgomery holds both Australian and American citizenship. She moved from Los Angeles to New York City in 2013 to continue filming Unforgettable.

title: Poppy Montgomery


text:
Henry Morgan (humorist)

Henry Morgan (born Henry Lerner von Ost Jr.; March 31, 1915 – May 19, 1994) was an American humorist. He first became familiar to radio audiences in the 1930s and 1940s as a barbed but often self-deprecating satirist. In the 1950s and later he was a regular and cantankerous panelist on the game show I've Got a Secret as well as other game and talk shows.

Early life and education
Morgan's parents divorced when he and his brother, Roger, were young. He grew up in Washington Heights, Manhattan, attended the High School of Commerce for two years, then went to the Harrisburg Academy in Pennsylvania, where he graduated in 1931.

Radio
Morgan began his radio career as a page at New York City station WMCA in 1932, after which he held a number of radio jobs, including announcing. He strenuously objected to the professional name Morgan but was told that his birth name of von Ost was exotic and difficult to pronounce despite the fame of successful announcers Harry von Zell and Westbrook Van Voorhis. This began a long history of Morgan's arguments with executives.

In 1940, Morgan was offered a daily 15-minute comedy series on Mutual Broadcasting System's flagship station WOR.

In his memoir Here's Morgan (1994), Morgan wrote that he devised his introduction "Good evening, anybody; here's Morgan" as a dig at popular singer Kate Smith, who "started her show with a condescending, 'Hello, everybody.' I, on the other hand, was happy if anybody listened in." He mixed in barbed ad-libs, satirizing daily life's foibles, with novelty records, including those of Spike Jones. Morgan stated that Jones sent him his new records in advance of market dates because he played them so often.

Morgan appeared in the December 1944 CBS Radio original broadcast of Norman Corwin's play The Plot to Overthrow Christmas, taking several minor roles including that of the narrator, Ivan the Terrible and Simon Legree. He repeated his performance in the December 1944 production of the play.

Morgan targeted his sponsors freely. Adler Shoe Stores, one early sponsor, came close to canceling its account after Morgan made references to "Old Man Adler" on the air. The chain changed its mind after business spiked upward, with many new patrons asking to meet Old Man Adler. Morgan had to read an Adler commercial heralding the new fall line of colors. He thought the colors were dreadful and said he wouldn't wear them to a dogfight, but perhaps the listeners would like them. Old Man Adler demanded a retraction on the air and Morgan obliged: "I would wear them to a dogfight." He later recalled "It made him happy."

The Henry Morgan Show received a Peabody Award Special Citation of honor for 1946.

Morgan's friend Ed Herlihy, a veteran radio announcer, remembered him to radio historian Gerald Nachman (in Raised on Radio): "He was ahead of his time, but he was also hurt by his own disposition. He was very difficult. He was so brilliant that he'd get exasperated and he'd sulk. He was a great mind who never achieved the success he should have." Nachman wrote of Morgan that he was radio's "first true rebel because—like many comics who go for the jugular, from Lenny Bruce to Roseanne Barr—he didn't know when to quit."

Another supporter was character actor Arnold Stang, who worked as one of Morgan's second bananas on the ABC shows and was known later as the voice of Hanna-Barbera's Top Cat. "He was a masochist, a neurotic man," Stang told Nachman about his former boss. "When things were going well for him, he would do something to destroy himself. He just couldn't deal with success. He'd had an unhappy childhood that warped him a little and gave him a sour outlook on life. He had no close friends." Stang also claimed that Morgan's first wife "kept him deeply in debt and refused to give him a divorce", but the divorce did occur and decades later, Morgan remarried.

Brief blacklisting
Morgan was briefly blacklisted after his name appeared in the anti-communist pamphlet Red Channels. Morgan's connections with communism were dubious at best. Nachman noted that Morgan's listing sprang from his former wife's leftist affiliations as Morgan confirmed in his memoir:
 * All her information came from friends whose conversation leaned sharply away from their relatively high incomes, which, apparently, they found to be embarrassing in a world that harbored poor people. Their chosen method of being helpful was to attend meetings at one another's homes and discuss the problems of the hungry hordes after dinner. I am not trying to be amusing; it's what they really did. A Party member was usually invited to lead the discussions. I was apolitical. To some, that meant that I was either stupid or "inner-directed"—which meant according to them that I didn't care about my fellow man. What I really didn't care about was the four or five of her friends who later became known as the Hollywood Ten.

Morgan married Isobel Gibbs on August 17, 1946 in Las Vegas. By 1948, they were separated. During an appearance on Late Night with David Letterman in 1982, Morgan told Letterman that Gibbs still was trying to sue him for more money.

Morgan revealed in his memoir that one of his cousins had been a Communist Party member until the Hitler-Stalin Pact caused him to break with the party and that this cousin had told investigators that Morgan had not been a party member. The cousin cooperated closely with investigators "when he learned that his agent, a Party member, had refused to accept assignments for him; his doctor, another Red, knowing of (his) bad heart, had recommended that he play tennis. The Party tried to rape him. It was enough to ruin his faith, it was. He decided to kill them, that was all." Morgan was cleared, and he resumed his broadcasting career.

So This Is New York and early TV shows
Morgan made one film as a lead actor, producer Stanley Kramer's sophisticated comedy So This Is New York (1948), which featured Arnold Stang and loosely was based on Ring Lardner's 1920 novel The Big Town. Although Morgan and the film received favorable critical reviews, it was not as well received by the public as his radio and later television work.

In 1948, the fledgling ABC Television Network put Morgan on the air with On the Corner, which lasted for five weeks. On March 28, 1949, The Henry Morgan Show debuted on NBC television. It was broadcast Monday through Friday from 7:30 to 7:45 p.m. Eastern Time. In 1951, Morgan had a short-lived TV show on NBC, Henry Morgan's Great Talent Hunt, which replaced the NBC variety series Versatile Varieties, running from January 26 to June 1, 1951. The show started out as a take-off on The Original Amateur Hour, and featured Kaye Ballard (in her TV debut), Art Carney, Pert Kelton and Arnold Stang as Gerard. On April 20, NBC changed the show's title and format to The Henry Morgan Show, a comedy-variety show, and singers Dorothy Claire and Dorothy Jarnac provided musical numbers between the comedy sketches.

Morgan appeared as Brooklyn assistant district attorney Burton Turkus in the film Murder, Inc. (1960) with Stuart Whitman, May Britt and Peter Falk. A year earlier, he hosted the short-lived syndicated television program Henry Morgan and Company.

I've Got a Secret
Morgan's longest-lasting television image began in June 1952 when he was invited to join I've Got a Secret, produced by Mark Goodson and Bill Todman. Morgan's tenure on the show was marked by his periodic sarcastic complaints about the working conditions. Morgan's mordant wit played well against the upbeat personalities of the other panelists, and producer Allan Sherman deliberately staged elaborate "secrets" involving Morgan personally. On various occasions, Morgan was:
 * sent to Africa
 * dispatched to an undisclosed location in the Caribbean to try Edward O. Thorp's card counting system for blackjack
 * partially undressed on the air while trying to read a dramatic script (without breaking his composure)
 * given a job by cowboy Roy Rogers on his ranch in California
 * given janitorial equipment and told to clean up a messy, confetti-strewn theater stage
 * assigned as a caddie for Arnold Palmer in a charity golf tournament
 * dressed as Santa Claus by former panelist Faye Emerson, then told to deliver presents that night to children who had written letters to Santa;
 * sold a hot dog by Paul Newman at a World Series game at Ebbets Field

Morgan stayed with the show for its original 14-season run and rejoined it when it was revived twice: in syndication in 1972 and on CBS once more for a brief 1976 summer run.

Other work
Morgan continued radio appearances, most often on the NBC weekend show NBC Monitor (1955–70), which afforded final airings to longtime radio favorites Fibber McGee and Molly until co-star Marian Jordan's death. He also appeared as a guest panelist on other game shows produced by the Goodson-Todman team, including What's My Line?, To Tell the Truth and The Match Game. Morgan also took a turn hosting the radio quiz show Sez Who, in 1959; the quiz involved guessing the famous voices making memorable comments that had been recorded over the years.

Morgan had three bylines in Mad magazine in 1957–1958 during the period when the magazine was adapting work from humorists such as Bob and Ray, Ernie Kovacs and Sid Caesar. During the early 1950s, he wrote a weekly humor column for the New York Post. Morgan occasionally was seen on the weekly news satire That Was The Week That Was in 1964–1965. Also in the 1960s, he made numerous appearances in the early years of The Tonight Show Starring Johnny Carson and became a regular cast member of the short-lived but respected James Thurber-based comedy series My World and Welcome to It in 1969. He was also a contestant on a 1963 edition of To Tell the Truth, in which he successfully fooled the panelists into thinking he was former Polish spy-turned-author Pawel Monat.

During the 1970s, Morgan wrote humorous commentaries for national magazines. His radio career gained a revival in his native New York City in the early 1980s because of his two-and-a-half-minute The Henry Morgan Show commentaries, broadcast twice daily on WNEW-AM (now WBBR) starting in January 1981. The following year, he added the Saturday-evening show Morgan and the Media on WOR.

On October 13, 1972, Morgan appeared as a last-minute fill-in on The Merv Griffin Show, and frustrated with fellow guest Charo's interruptions and deliberately contrived poor grasp of English, told Griffin "you dragged me out of bed because you said you were stuck for a guest, and I have to sit and listen to this nonsensical babble", and he walked off the set.

Morgan was a guest on the February 8, 1982 fifth episode of the nascent Late Night with David Letterman show with film producer and director Francis Ford Coppola during which Morgan gave a rambling account of his troubles with his ex-wife and left the show during a commercial break.

Personal life and death
Morgan had a son, Steve Robinson, with Helen Louise Rankin. Steve did not meet his father until he was age 17.\

Morgan was a second cousin of Broadway lyricist and librettist Alan Jay Lerner.

Morgan's 1994 memoir ''Here's Morgan! The Original Bad Boy of Broadcasting'' found him satirizing many of his former co-stars but not examining his professional life with much depth, as if the reader was listening to a vintage radio satire of Morgan's life. He also edited, with writer and editor Babette Rosmond, Shut Up, He Explained, an anthology of Ring Lardner's shorter works (Scribner, 1962).

His final national television appearance was on the CNBC cable television series Talk Live in early 1994. A few weeks after that broadcast, Morgan died of lung cancer at age 79.

Audio

 * The Henry Morgan Show (ten episodes)
 * Henry Morgan hosting Monitor (30-minute segment)
 * Here's Morgan

title: Henry Morgan (humorist)