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Tich Freeman

Alfred Percy "Tich" Freeman (17 May 1888 – 28 January 1965) was an English first-class cricketer. A leg spin bowler for Kent County Cricket Club and England, he is the only man to take 300 wickets in an English season, and is the second most prolific wicket-taker in first-class cricket history.

Career
Freeman's common name comes from his short stature, standing at 5ft 2in tall. However, his stocky build and strong fingers gave him great bowling stamina, and he hated being taken off. His height gave his deliveries a low trajectory that was difficult for batsmen to reach on the full toss. This meant batsmen who did not play with a straight bat, or who lacked good footwork, rarely lasted long against him. Freeman relied chiefly on a leg-break that pitched on middle-and-leg, so that batsmen had to play at it, and a top-spinner that was notoriously difficult to detect and brought him hundreds of wickets; the googly he used sparingly. His bowling grip was somewhat unorthodox for a leg spinner: being such a small man with small hands, he gripped the ball between thumb, middle and index fingers rather than the orthodox leg break grip between the palm, index finger and ring finger.

Freeman, two of whose brothers played for Essex, played club cricket during the early 1910s and was engaged by Kent in 1914. After success with the Second Eleven, he was picked for the county side regularly late in the season, but World War I then halted county cricket for several years. Figures of 7 for 25 against Warwickshire showed Freeman's promise, and when cricket resumed in 1919 he developed rapidly. He took 60 wickets in a short season in 1919, 102 in 1920, 166 in 1921 and 194 in 1922. He was named a Wisden Cricketer of the Year in 1923 and took 17 for 67 on a rain-affected pitch against Sussex in 1922.

In 1924, Freeman's bowling for the Players (6 for 52 in the first innings) against the Gentlemen earned him a place in the Marylebone Cricket Club (MCC) tour to Australia. However, owing to the rock-hard pitches and the superb footwork of Australia's batsmen, Freeman proved expensive in the two Tests in which he was selected. Freeman continued to dominate Kent's bowling in the following three years, but was only modestly successful against South Africa in 1927–1928.

1928 was Freeman's most successful year: he set his record of 304 first-class wickets, including 22 wickets in three Tests against the West Indies (and also took 9 for 104 against them for Kent). In 1929 Freeman took 22 wickets in two Tests against South Africa, but their batsmen's mastery over him in the Fifth Test, when he did not take a wicket in 49 overs and conceded 169 runs, meant that this Test was his last. Yet, between 1930 and 1933 Kent so depended upon Freeman's bowling that he took 951 County Championship wickets–over 55 percent of Kent's total–for only 15.21 runs each. Among his best performances in these years were:

 * 17 for 92 against Warwickshire at Folkestone in 1932
 * 16 for 82 against Northamptonshire at Tunbridge Wells in 1932
 * 16 for 94 (10 for 53 in first innings) against Essex at Southend in 1930
 * 15 for 94 against Somerset at Canterbury in 1931
 * 15 for 122 against Middlesex at Lord's in 1933
 * 15 for 142 against Essex at Gravesend in 1931
 * 15 for 144 against Leicestershire at Maidstone in 1931
 * 10 for 79 in an innings against Lancashire at Manchester in 1931
 * 9 for 50 against Derbyshire at Ilkeston in 1930 (match figures of 12 for 210)

Freeman even did well against the 1930 Australians, taking 5 for 78, but he was never selected for a home Ashes Test. He averaged as little as 11 runs per wicket against Leicestershire, but more than 26 against the strong Surrey batting line-ups.

In 1934 and 1935, although he was still the leading wicket-taker in England, Freeman fell away gradually. His average rose from around 15 to over 21 runs per wicket, and he was rarely as successful as before when the ground helped him or against weak batting; however, his work rate still earned him many wickets. In early 1936, Freeman was again strong, and he took 70 wickets in the first fourteen matches. But his performance deteriorated thereafter, with only 33 wickets in the next fourteen games, so that Kent did not engage him for 1937. Freeman played for Walsall in the Birmingham And District League for a few years after that. He was granted life membership of Marylebone Cricket Club (MCC) in 1949. After retirement Freeman opened a chain of sports retail shops in partnership with his old Kent teammate Jack Hubble. He christened his retirement cottage "Dunbowlin'".

Records
The many bowling records he holds include:
 * Taking 1673 wickets in six consecutive seasons from 1928 to 1933–in each of these seasons he took over 250 wickets, something no other bowler has done even once since 1901.
 * Ten wickets in an innings on three occasions (1929, 1930 and 1931).
 * Seventeen wickets in a match twice, in 1922. and 1932
 * The three highest totals of balls bowled in a season in 1928, 1930 and 1933.
 * Ten or more wickets in a match on 140 occasions, more than 50% ahead of his nearest rival Charlie Parker.
 * 48.6% of his 3776 first-class wickets were taken without assistance (either bowled, caught and bowled, leg before wicket, or hit wicket).
 * Second only to Wilfred Rhodes in his aggregate of first-class wickets, Freeman accumulated his in little more than half as many matches (Freeman took 3,776 wickets in 592 matches, Rhodes 4,204 in 1,110). He is just second to Wilfred Rhodes for taking the most wickets in all forms of cricket (List A, first-class, T20).
 * He holds the record for taking the most five wicket hauls in first-class cricket. Freeman's total of 386 is 99 ahead of Rhodes' tally and far exceeds cross-format aggregates from the limited-overs era.

title: Tich Freeman


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Talk:Answer song

John Lennon's father
I thought "That's My Life (My Love And My Home)" (1965) by Alfred Lennon, John Lennon's father, to his son's song "In My Life" (1965). Anyone have anything on this? Artaxerxes (talk) 16:55, 26 July 2011 (UTC)

Amy Winehouse
"Me and Mr. Jones" by Amy Winehouse would seem to be an answer song (of sorts) to Me and Mrs. Jones (1972) made famous by Billy Paul. Anyone have anything on this? Artaxerxes (talk) 16:44, 26 July 2011 (UTC)

Suggestion
This is a good one to use I think, since it is two well known songs. Lynrd Skynrd's Sweet Home Alabama is, as mentioned in the lyrics, an "answer song" to Neil Young's "Southern Man"... "Well I heard mister Young sing about her. Well, I heard ole Neil put her down. Well, I hope Neil Young will remember. A Southern man don't need him around anyhow" —Preceding unsigned comment added by 72.69.104.195 (talk) 02:24, 15 September 2010 (UTC)

Let It...
Should we add Let it Bleed as a notorious response to Let it Be? —Preceding unsigned comment added by 24.149.203.252 (talk) 05:03, 26 October 2007 (UTC)
 * +1.--91.122.42.132 (talk) 01:46, 29 June 2008 (UTC)
 * Huh? 98.221.133.96 (talk) 09:16, 26 July 2008 (UTC)

Is McCartney's "Let Me Roll It" actually an answer song? It sounds like the song is something of a response to, or a parody of, Lennon's new band, not a response to any particular song98.235.34.95 (talk) 02:50, 2 April 2010 (UTC)

Page move
This article has been renamed as the result of a move request. Answer record → Answer song

Answer song previously contained a redirect to List of answer songs. Now someone has created an article on answer songs at answer record and. I have changed answer song to redirect at answer record but I'm fairly certain that the more widely used term is 'answer song', not 'answer record' and can't move it because of the existing redirect article. --Moochocoogle 18:53, 28 Feb 2005 (UTC)

 * Neutral What a stupid term in the first place. But how original can those people get when their vocabulary is limited to "benjamins," "whore," "crackwhore," "kill," and "pimp." —ExplorerCDT 01:16, 1 Mar 2005 (UTC)
 * Not even a vote? You just had to vent some negative energy and racism and thought this would be a good place? Hyacinth 17:16, 5 Mar 2005 (UTC)
 * Please note that this was originally on WP:RM and so ExplorerCDT probably doesn't have this page on his watchlist. violet/riga (t) 17:37, 5 Mar 2005 (UTC)
 * Moved. violet/riga (t) 23:12, 4 Mar 2005 (UTC)

I have not heard what are in actuality answer songs called that, only "answer record". Hyacinth 01:36, 1 Mar 2005 (UTC)

Wrong Title?
This article mentions that answer songs have been around since the 1930's, but after that, the entire article is about Answer Songs in Hip-Hop Music. That would be a better title.Jennifer Brooks 05:19, 9 June 2006 (UTC)

List of Answer Songs page deletion
Speaking as a radio DJ, the deletion of the List of answer songs is quite annoying as I found the list to be of great value. I aim to bring it back. gigantibyte 19:28, 18 September 2007 (UTC)

Stairway to Heaven

 * What about AC/DC's song Highway to Hell. Is it an answer song? —Preceding unsigned comment added by 91.122.42.132 (talk) 01:47, 29 June 2008 (UTC)

Bot report : Found duplicate references !
In the last revision I edited, I found duplicate named references, i.e. references sharing the same name, but not having the same content. Please check them, as I am not able to fix them automatically :) DumZiBoT (talk) 20:46, 9 August 2008 (UTC)
 * "Kitty" :
 * CMT.com : Kitty Wells : Biography
 * CMT.com : Kitty Wells : Biography

Song Suggestion
I would like to suggest adding "A Pretty Girl Is Like..." from the album 69 Love Songs by The Magnetic Fields. Songwriter Stephin Merritt has called it an answer song to Irving Berlin's "A Pretty Girl Is Like a Melody." Reference can be found here. Maybe too obscure for some though...?

Unbesorgt (talk) 22:48, 14 April 2009 (UTC)

Hm, how about Mariah Carey's "Obsessed". That's an answer song to Eminem in general and to his unreleased track song "Bagpipes From Baghdad" off his 2009 album "Relapse". —Preceding unsigned comment added by 208.54.4.56 (talk) 22:03, 29 June 2010 (UTC)

Strongly agree with previous comment on Lynyrd Skynyrd and Neil Young; "Sweet Home Alabama" is one of the most famous answer songs out there. —Preceding unsigned comment added by 141.161.128.67 (talk) 19:55, 17 September 2010 (UTC)

Unsupported examples
The following songs lack sufficient notoriety or support to be included as answer song examples--and one includes a rather in-your-face obscenity in it's title. Remaining examples in the article could use substantiation in many cases. Artaxerxes (talk) 17:24, 14 December 2011 (UTC)
 * “F.U.R.B. (Fuck You Right Back)” was Frankee's response to Eamon's “Fuck It (I Don't Want You Back)”, promoting rumors that the two had been dating. It was the first answer song to reach No. 1.
 * Christina Aguilera's “Woohoo” featuring vocals of Nicki Minaj was a response to “Blah Blah Blah” by Kesha feat. 3OH!3.
 * “California Gurls” by Katy Perry was a response to “Empire State of Mind” by Jay-Z and Alicia Keys, according to Perry.
 * The filk "307 Hell" is an answer song to Tom Smith's "307 Ale," describing an unwary drinker's adverse reaction to drinking the aforementioned 153% proof alcohol concoction.
 * Escape Key's "Into the Fire" is a follow-up to Echo's Children's "Under the Gripping Beast" sung from the point of view of the bereaved lover of the first song's protagonist, learning of her deal with the devil and determined to free her from it.
 * Noelle - "I Already Know" was an answer single to "I Don't Wanna Know" by Mario Winans feat. P Diddy
 * "You Should Really Know" by The Pirates featuring Shola Ama, Enya, Naila Boss and Ishani was also an answer song to "I Don't Wanna Know" by Mario Winans feat. P Diddy
 * Everybody Was in the French Resistance...Now! are a side project of Art Brut and The Blood Arm, dedicated entirely to writing answer songs, and have replied to Bob Dylan, Kanye West and Avril Lavigne, amongst others.
 * The Wanderer (Dion song) and Runaround Sue.
 * Rapper Eminem and singer Mariah Carey exchanged answer songs in response to Eminem's Jimmy Crack Corn. Carey responded first with Obsessed. Though she personally denies this, it is widely believed to be in response. Afterwards Eminem replied with an answer song, also considered a diss song, titled The Warning.
 * “There's No I in Team” was Taking Back Sunday's response to Brand New's “Seventy Times 7”.
 * “No Pigeons” was Sporty Thievz's response to TLC's “No Scrubs”.
 * “No Billz (Why, Why, Why?)” was Sporty Thievz's response to Destiny's Child's “Bills, Bills, Bills”, which was coincidentally co-written by Kandi Burruss, who also co-wrote “No Scrubs”.
 * O-IWI-O, by Korean boy band MBLAQ member G.O and Korean rapper Nassun, is a reply to the Girl's Generation song Gee.
 * Super Junior, a Korean boy band released their answer song titled "Sorry Sorry - Answer" to their previous song Sorry Sorry.
 * Japanese singer Thelma Aoyama released an answer song "Koko Ni Iru Yo" as an answer song to her previous song collaboration with SoulJa tited "Soba Ni Iru Ne".
 * Miss Thang's "Thunder & Lightning" is a reply song to Oran "Juice" Jones' "The Rain".
 * "I Didn't Just Kiss Her" was Jen Foster's response to "I Kissed a Girl" by Katy Perry.
 * "New York City Gurls" was Kat DeLena's response to "California Gurls" by Katy Perry.
 * Yet you yourself have added at least two without any such substantiation, apparently based on no more than that you think "they seem to be" answer songs. I have no problem with allowing only properly cited examples, but don't dictate what is and isn't allowed when you aren't observing policy yourself. 12.233.146.130 (talk) 19:55, 23 December 2011 (UTC)
 * This list of less-notable and less-supported songs was placed here for discussion: can/should they be included in the article? can they be better supported? There has been no dictating of 'what is and isn't allowed' (not by me, at least).  (The first title on the list above was re-included in the article, as could be all the rest--with the enhanced support.)  A lack of a reference is not enough, for example, to say that a song is not well-supported.  If it has a page/article dedicated to it, and that article clearly states how the song qualifies, the link to that article should show sufficient support for that song. But I don't recommend a laundry list of songs; this is not a list page.  Best to include a few examples that best exemplify the 'answer song', that help readers to understand what the genre is exactly, the history of it.  Listing every single song that anyone has ever thought might be some sort of a response to another is not helpful in establishing a clear definition (or history). Artaxerxes (talk) 20:32, 23 December 2011 (UTC)
 * Setting the criteria is tricky. Ideally I'd like to do away with a list format and have everything written in paragraphs. Having to write a paragraph explaining why the song was important to the concept would deter people for just adding any old song. --Salix (talk): 16:33, 24 December 2011 (UTC)
 * Fleshing out each entry would help, as in text added to each bulleted item. Making the whole section paragraphs of flowing text might be a little harder to do concisely (and more difficult to get for a reader). Artaxerxes (talk) 16:59, 24 December 2011 (UTC)

 * As much as I love the idea of this, I can't find any evidence that Drake's "The Motto" is a response to Nickelback's "If Today Was Your Last Day." The citation that is currently provided goes to a Lecrae track that does not mention the issue at all. ClaireJV (talk) 21:47, 8 February 2014 (UTC)

More unsupported examples as of October 2022
At a quick look, there are a lot of examples given without citations that have been added since 2014. If you are in love to the idea that any of these should stay on the list you better put a ring on it ..er put a put a citation on it soon. Later I will go through the article and remove anything lacking support. Richard-of-Earth (talk) 15:30, 7 October 2022 (UTC)

Additional citations
Why and where does this article need additional citations for verification? What references does it need and how should they be added? Hyacinth (talk) 04:21, 10 March 2012 (UTC)

Physical and Pride
This article is lacking Robert Palmer's 'Pride', which is a response to Olivia Newton-John's 'Physical'. RPFan 06:34, 31 March 2012 (UTC) — Preceding unsigned comment added by 67.253.61.84 (talk)

Possible entry
How about "Bounce Me Brother With a Solid Four", an answer to "Beat Me Daddy, Eight to the Bar"? It seems a pretty obvious "answer song" though I don't know where to find a source to prove it.

Probably the most famous version of each song was the one by the Andrews Sisters, which is a little odd (can you sing an answer song to answer yourself?) but arguably that just makes it a more interesting example. --Trovatore (talk) 07:30, 12 November 2015 (UTC)

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title: Talk:Answer song


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Dull Knife Fight

The Dull Knife Fight, or the Battle on the Red Fork, part of the Great Sioux War of 1876, was fought on November 25, 1876, in present-day Johnson County, Wyoming between soldiers and scouts of the United States Army and warriors of the Northern Cheyenne. The battle essentially ended the Northern Cheyennes' ability to continue the fight for their freedom on the Great Plains.

Background
After soldiers from Fort Fetterman in Wyoming Territory under Brigadier General George Crook fought the Northern Cheyenne at the Battle of Powder River, on March 17, 1876, the Battle of Prairie Dog Creek on June 9, 1876, the Battle of the Rosebud on June 17, 1876, and the Battle of Slim Buttes on September 9–10, 1876, General Crook received reinforcements at his Goose Creek, Wyoming supply base and began to move up the old Bozeman Trail towards Crazy Horse. After learning of a village of Cheyennes in October, 1876, Crook sent Colonel Ranald S. Mackenzie into the Southern Powder River Country to locate it.

Colonel Mackenzie departed Camp Robinson, Nebraska with nearly 1,000 soldiers in 11 companies of the 2nd, 3rd, 4th, and 5th United States Cavalry Regiments. He also had a large contingent of 400 Indian scouts, including Pawnee led by Li-heris-oo-li-shar, Shoshone led by O-ho-a-tay, Arapaho led by "Sharp Nose", Sioux led by "Three Bears", Bannocks led by Tup-si-paw, and Cheyenne. The expedition of 1500 officers and men left Fort Fetterman on 14 November 1876, accompanied by four dismounted companies of the 4th Artillery and eleven companies of infantry from the 4th, 9th, 14th and 25th regiments under Colonel Richard I. Dodge, and a medical staff of 6 surgeons. The Indian scouts "scoured" the front, flank and rear up to 40 mi. The cavalry then pushed forward, ready to fall back on the infantry if necessary. A train of some 168 wagons, 7 ambulances, 219 drivers and attendants, 400 mules and 65 packers in the pack-train supplied the column. They waited out a snow storm at Cantonment Reno until 22 Nov.

The battle
On 23 Nov., a Cheyenne Indian from the Red Cloud Agency informed the soldiers of an "extremely large" Cheyenne village at the source of Crazy Woman Creek, further upstream from the current US camp, in a Bighorn Mountains canyon. Col. Mackenzie was ordered to take the Indian scouts, and all of the cavalry except one company, in search of the village. He led 1000 men, one third of which were Indians. Eventually on November 25, 1876, Mackenzie found the camp of Dull Knife and Little Wolf on the Red Fork of the Powder River. The Cheyenne warriors were having a celebration because of a recent victory over a Shoshone village.

Mackenzie waited until dawn, then attacked and drove the warriors from the village. Some were forced to leave their clothes, blankets and buffalo robes behind and flee into the frozen countryside. Dull Knife began to offer stiff resistance, and the fighting continued. The Pawnee warriors accompanying the soldiers fought with exceptional ability against the Cheyenne. Second Lieutenant John A. McKinney, of the 4th United States Cavalry Regiment, and five enlisted men were Killed in action. Chief Dull Knife's Cheyenne warriors finally retreated, abandoning their village. The Cheyenne village of 200 lodges and all its contents were entirely destroyed, and the soldiers captured about 700 "head of stock".

Aftermath
Dull Knife lost 3 sons in the fight. "From the desperate cold of the night immediately following they suffered as much. Eleven babies froze to death in the arms of famished mothers..." Finally, the US soldiers recovered articles from the Battle of the Little Bighorn.

Dull Knife's followers were left in the freezing November weather without sufficient clothing, and many suffered from frostbite. In the days that followed, some of the women and children froze to death. Hungry and freezing, many survivors surrendered at Camp Robinson, Nebraska by April 1877. Those who surrendered were exiled to the Southern Cheyenne reservation in Indian Territory. After a year of reservation life in which they were decimated by disease and hunger, many—including Dull Knife and his followers—escaped in what became known as the Northern Cheyenne Exodus.

Other survivors never surrendered. A large number of Dull Knife's band traveled north along the Bighorn Mountains, eventually reaching the upper Tongue River regions. Some joined Chief Crazy Horse's Oglala Sioux camp on Beaver Creek, and on January 8, 1877, would fight alongside Crazy Horse and Two Moon at the Battle of Wolf Mountain on the banks of the Tongue River, in Montana Territory.

The Dull Knife Fight ended the Northern Cheyennes' resistance to the United States for all practical purposes. General Crook telegrammed the War Department, "This will be a terrible blow to the hostiles, as those Cheyennes were not only their bravest warriors but have been the head and front of most all the raids and deviltry committed in this country." There were a few more skirmishes, but by 1884 the Northern Cheyenne people were confined to the Northern Cheyenne Indian Reservation.

Order of battle
Native Americans, Chief's Dull Knife, and Little Coyote (Little Wolf). About 400 warriors.

United States Army Expedition from Camp Robinson, Nebraska, October–November, 1876, Late Major General, Colonel Ranald S. Mackenzie, commanding.

Dull Knife battlefield
The Dull Knife Battlefield is located east of the Bighorn Mountains in Johnson County, Wyoming near the present day town of Kaycee, Wyoming. The battlefield is on private land and tours are available only by special arrangement. The location is now the site of a cattle ranch.

title: Dull Knife Fight


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Talk:List of films based on classical mythology

Untitled
Wasnt there a Disney sequal, Hercules II?

 * I'm making this an inc-video category and hope that's okay.--T. Anthony 07:13, 22 September 2005 (UTC)

 * Actually the straight to video Hercules Zero to Hero was a cobbling together of episodes from the TV show.--Dudeman5685 05:02, 19 May 2006 (UTC)


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Wikipedia:Miscellany for deletion/Wikipedia:Votes for deletion

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result of the debate was Speedy keep as per Wikipedia talk:Votes for deletion. Uncle G 18:46, 2005 Mar 28 (UTC)

Votes for Deletion
''This never made it to the VfD page. Might be speediable but I'll stick it on here anyway.'' — Xezbeth 13:07, Mar 28, 2005 (UTC)

I propose to delete this page and start over again on a new process, to be determined, after a substantial pause and reassessment.
 * VfD is by its very nature destructive to wikipedia, its aim is to destroy rather than create. Clearly there are objectives which VfD aims to solve, feel free to list those here. Among them:
 * There is nonsense.
 * There are stubs, which can be expanded.
 * There are copyright violations, which need to be removed.
 * However Wikipedia is not paper - the "importance" criteria is used far too often. While yes, you may believe something is unimportant, so what, the article does you (and wikipedia) no harm so long as it is factually correct and verifiable.
 * The process is unwieldy, only insiders to the VfD process can figure it out, it drains energy from other contributors having to fight rear-guard actions on already created content from rampant deletionists.
 * Delete dml 01:39, 1 Mar 2005 (UTC)
 * It's not April 1 yet. -- Cyrius|✎ 13:29, 28 Mar 2005 (UTC)
 * RENAME to Articles for Deletion and turn VfD into a deletion clearing house for unresolved deletions in the various deletion pages :) 132.205.15.43 14:50, 28 Mar 2005 (UTC)
 * Delete Votes for deletion/Votes for deletion. Not the proper place to discuss deletion policy. Eugene van der Pijll 14:51, 28 Mar 2005 (UTC)
 * Delete subject to following comment: Please let us relative newcomers know where is the proper place to discuss deletion policy. I, personally, was a bit surprised at how strict the guidelines are (or seem to be). Might I suggest updating VfD template to include a PROMINENT link to the "proper place". --Smithfarm
 * There's no need to update it. It's the very first hyperlink on the notice.  And it's in boldface.  The last hyperlink on the notice, to the guide, is strongly recommended reading, too.  Uncle G 18:46, 2005 Mar 28 (UTC)
 * Delete. Wrong namespace to discuss Wikipedia policy. Smithfarm: the best places to look for policy discussions are on those policies' talk pages—just like for the regular articles.  Try Wikipedia talk:Deletion policy to get a sense of what is being (and has been) discussed. --TenOfAllTrades | Talk 15:27, 28 Mar 2005 (UTC)
 * strong donkey delete --Smooth Henry 18:28, Mar 28, 2005 (UTC)
 * Redirects belong on WP:RFD. This one would probably be kept, despite being an Evil Cross-namespace Redirect.  As for vfd itself, see also Wikipedia talk:Votes for deletion.  (The move of vfd to Articles for Deletion is tempting—it might help to work against the "it's all about the number of votes" mentality—but probably impractical.) —Korath (Talk) 18:38, Mar 28, 2005 (UTC)
 * Whilst I agree that "Articles for deletion" would be more in line with "Templates for deletion", "Categories for deletion", "Images for deletion", and "Redirects for deletion", it's not that pressing an issue, and the procedure given at Requested moves is best for that, anyway. This was WP:POINT made by User:DavidLevinson on March 1.  It was discussed and the nomination rolled back a while ago.  See Wikipedia talk:Votes for deletion.  I'm going to close this discussion to prevent further people helpfully "rescuing" it in the future. Uncle G 18:46, 2005 Mar 28 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


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User:SH Moore

Hi, I am new here and just learning the ropes. Feel free to drop me a note if I make a mistake. I seek feedback!

title: User:SH Moore


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Jack May

Jack Wynne May (23 April 1922 – 19 September 1997) was an English actor.

Early life and education
May was born in 1922 in Henley-on-Thames, and was educated at Forest School in Walthamstow. After war service with the Royal Indian Navy in British India, he was offered a place at RADA, but instead went to Merton College, Oxford. Here, with the OUDS, he played parts that included John of Gaunt in Richard II and Polonius in Hamlet.

Career
May became familiar on television as the valet William E. Simms in two series of the BBC 1 fantasy/adventure television series Adam Adamant Lives! from 1966 to 1967.

He provided the voice for Igor, long-suffering butler to Count Duckula in the cartoon series of the same name. He also appeared as the waiter Garkbit in the television version of The Hitchhiker's Guide to the Galaxy, Théoden in the 1981 BBC Radio adaptation of The Lord of the Rings, as General Hermack in the 1969 Doctor Who serial The Space Pirates, and in Bachelor Father. For 45 years the long-running BBC Radio 4 series, The Archers, featured the voice of May as Nelson Gabriel, son of Walter Gabriel, making him (at the time of his death) the fourth-longest serving soap opera star in the world. He played the voice of Muzzy in Muzzy in Gondoland and Muzzy Comes Back.

His other credits in film and television included Dr. Denny in the 1960 serial The Citadel, the sex-crazed Judge in the horror film Night After Night After Night (1970), the District Commissioner in The Man Who Would Be King (1975), and the prosecuting naval attorney in The Bounty (1984).

On stage he played many leading and supporting roles, spending five years with Birmingham Repertory Theatre during which time he attracted considerable notice in the title part of Shakespeare's Henry VI. This trilogy of plays came to the Old Vic in London, and from then on began to be far more regularly revived. For Birmingham Rep, he also played parts as diverse as Richard II, Alec in Coward's Still Life (the story better known as Brief Encounter) and the Elephant in Obey's Noah. He returned to the Old Vic for the 1958–59 season, as Shakespeare's Julius Caesar among other parts. Later stage roles included The Headmaster in A Voyage Round My Father, and Colonel Pickering in Pygmalion with Alec McCowen and Diana Rigg.

Personal life
In 1957, he married the actress Petra Davies. He died at 75, on 19 September 1997, survived by his wife, his daughter Henrietta, and his son David.

Partial filmography

 * Gert and Daisy's Weekend (1942) as Old Man
 * Give Me the Stars (1945) - Milkman (uncredited)
 * The Oracle (1953) - Old Man
 * Innocents in Paris (1953) - (uncredited)
 * John Wesley (1954)
 * Child's Play (1954) - Bob Crouch
 * It's a Great Day (1955) - Nightwatchman (uncredited)
 * Cat Girl (1957) - Richard Johnson
 * The Silent Enemy (1958) - (uncredited)
 * There Was a Crooked Man (1960) - Police Sergeant
 * Seven Keys (1961) - Prison Officer (uncredited)
 * Solo for Sparrow (1962) - Insp. Hudson
 * The Traitors (1962) - Burton / 'The Traitor'
 * Solo for Sparrow (1962) - MO
 * A Funny Thing Happened on the Way to the Forum (1966) - Shopkeeper
 * How I Won the War (1967) - Toby
 * A Twist of Sand (1968) - Inspector Seekert
 * Night After Night After Night (1969) - Judge Charles Lomax
 * Goodbye, Mr. Chips (1969) - Price (uncredited)
 * Trog (1970) - Dr. Selbourne
 * The Yes Girls (1971) - King Reiter
 * Big Zapper (1973) - Jeremiah Horn
 * The Man Who Would Be King (1975) - District Commissioner
 * The Seven-Per-Cent Solution (1976) - Dr. Schultz
 * Sammy's Super T-Shirt (1978) - Sportsmaster
 * A Horseman Riding By (1978) - Lord Gilroy
 * The Return of the Soldier (1982) - Brigadier General
 * The Bounty (1984) - Prosecuting Captain
 * The Shooting Party (1985) - Sir Harry Stamp
 * The Doctor and the Devils (1985) - Dr. Stevens
 * Willie's War (1994) - Grandfather

title: Jack May


text:
Snake Eyes (1998 film)

Snake Eyes is a 1998 American mystery thriller film directed and produced by Brian De Palma. The film stars Nicolas Cage as a detective investigating a political assassination at a boxing match in Atlantic City, with supporting roles played by Gary Sinise, Carla Gugino, John Heard, Stan Shaw, Kevin Dunn, Joel Fabiani and Luis Guzmán. De Palma also devised the story with David Koepp, who was the sole writer of the screenplay. The musical score was composed by Ryuichi Sakamoto.

The film was released and produced by Paramount Pictures in North America and Buena Vista International (through Touchstone Pictures) internationally on August 7, 1998. The film garnered mixed reviews from critics, criticizing the film's story, writing and pacing while praising its style and the performances. It grossed $104 million worldwide against a $73 million budget.

Plot
On a dark and stormy night, corrupt, flamboyant Atlantic City police detective Rick Santoro attends a boxing match at Atlantic City Arena between heavyweight champion Lincoln Tyler and challenger Jose Pacifico Ruiz. He meets up with his best friend since childhood, U.S. Navy Commander Kevin Dunne, who is working with the Department of Defense to escort Defense Secretary Charles Kirkland and Arena director Gilbert Powell at the fight after a trip to Norfolk, Virginia.

As the first round begins, Kevin is distracted by an attractive redhead named Serena who wears a ruby ring, and leaves his seat, which is then taken by Julia Costello, a mysterious woman with platinum blonde hair and a white satin suit. When Ruiz unexpectedly knocks out Tyler, gunshots ring out, mortally wounding Kirkland and grazing Julia, who loses her glasses and blonde wig, revealing her naturally dark hair. Kevin kills the sniper and orders the arena to be locked down. Despite the lockdown, Julia escapes into the casino, covers her wounds in pieces of cloth from her blouse and, after stealing a black satin jacket, disguises herself as a hooker.

Rick notices that the "knocked out" Tyler awoke instantly when the shots rang out and, after studying the fight tape, realizes the knockout punch didn't connect. Tyler confesses that he threw the fight in order to pay gambling debts, but he was never told that anyone would be killed and reveals that Serena, the redhead who tricked Kevin into leaving his post, paid him to take a dive. With Tyler, Serena and the sniper, along with the man who signaled Tyler to go down and whoever gave him the go-ahead, involved, Rick, suspecting a conspiracy, reveals everything he has learned to Kevin, who confesses that the trip to Norfolk was to test the AirGuard missile defense system, which Powell's company was backing. He deduces that the sniper, a known Palestinian terrorist named Tarik Ben Rabat, assassinated Kirkland over the Pentagon's large-scale defense cooperation with and weapons systems transfers to Israel.

Rick studies surveillance footage to find Serena while Kevin continues searching for Julia, aided by Powell's security guards. However, once they split up, it is revealed that Kevin is actually the fifth party and masterminded the conspiracy. He kills the now-blonde Serena and Zeitz (the man who signaled Tyler to go down) in order to prevent their further involvement and then conceals their bodies, aided by his bodyguards. Kevin then enlists Tyler by revealing the truth to him.

Julia seduces Ned Campbell, a sleazy guest at the hotel, so she can hide in his room. Both Rick and Kevin discover this simultaneously and give chase, but Rick reaches her first and takes her into protective custody. In a stairwell, Julia confesses that she is an analyst who worked on the AirGuard tests and discovered the results were faked to make the missile defense system look like it was working when it actually was not; the system failed to work and she tipped off Kirkland to the deception. However, Kevin discovered her actions and arranged the entire conspiracy to kill both her and Kirkland, using Rabat's background as a rabidly anti-Israel terrorist to have him kill the SECDEF and then be immediately killed off himself. Rick discovers Kevin's involvement and, despite initially refusing to believe it, quickly accepts the truth. After hiding Julia in a warehouse, Rick inspects the footage of a new floating camera and discovers proof of his friend's involvement.

Kevin confronts Rick and confesses that his motive was to prevent any further attacks on U.S. ships, similar to one on the USS Renville, where Kevin had to leave several men to drown in order to prevent the ship from sinking following an Iraqi missile strike. He offers Rick one million dollars for Julia's location. When Rick refuses, since the only thing he said is that Julia did nothing wrong, Kevin has Tyler beat him up, but he still does not give in. Kevin plants a tracker on Rick and follows him to the warehouse just as a hurricane hits Atlantic City. When a tidal wave hits the boardwalk, Rick uses it as cover to rush Julia outside, where the police, tipped off by Rick, are waiting and witness Kevin opening fire. Unable to escape the police and a news crew, Kevin commits suicide during the live news feed.

Rick is later hailed as a hero, but the press soon uncovers his corruption and he loses his job and family. Before reporting for his prison term, Rick meets Julia on the boardwalk. She thanks him for his help, as Powell is completely restructuring his company and scrapping the AirGuard. Rick promises to call when he gets out in twelve to eighteen months. Ultimately, Serena's ruby ring is seen embedded in one of the concrete pillars of the new Powell Millennium Arena.

Cast

 * Nicolas Cage as Detective Rick Santoro, Atlantic City PD
 * Gary Sinise as Commander Kevin Dunne, USN
 * Carla Gugino as Julia Costello
 * John Heard as Gilbert Powell
 * Stan Shaw as Lincoln Tyler
 * Kevin Dunn as Lou Logan
 * Michael Rispoli as Jimmy George
 * Joel Fabiani as Secretary of Defense Charles Kirkland
 * Luis Guzmán as Cyrus
 * David Anthony Higgins as Ned Campbell
 * Mike Starr as Walt McGahn
 * Peter McRobbie as Gordon Pritzker
 * Tamara Tunie as Anthea
 * Chip Zien as Mickey Alter
 * Alain Goulem as PPV Director
 * Jayne Heitmeyer as Serena
 * Chip Chuipka as Zeitz
 * Éric Hoziel as Tarik Ben Rabat
 * Mark Camacho as C.J.
 * Adam Flores as Jose Pacifico Ruiz

Casting
De Palma offered the role of Commander Kevin Dunne to Al Pacino but he turned it down. Will Smith was then cast as Commander Kevin Dunne, but Smith later dropped out of the role as he wasn't offered enough money.

Filming
The majority of Snake Eyes was filmed on studio sets and the Montreal Forum in Montreal, Canada. The production spent two weeks on-location in Atlantic City, New Jersey, filming at the Trump Taj Mahal Hotel & Casino (now the Hard Rock Hotel & Casino Atlantic City).

Unused ending
Snake Eyes ' original ending involved a huge tidal wave going through the casino. This visual effects-heavy ending was cut and replaced with a reshot sequence in post-production, but numerous references to it still remain in the final film. A shot near the end of the film shows an ambulance driving down an oceanside road with a wave about to crash into it before the film cuts to another shot, Rick Santoro talks about almost drowning at the very end of the film, and references to a storm are made throughout the entire film, which were all meant to build up to the cut climax.

Reception
Released on August 7, 1998, Snake Eyes debuted at No. 2 on its opening weekend (behind Saving Private Ryan), with $16.31 million, beating out the weekend's other wide release Halloween H20: 20 Years Later at $16.19 million. It grossed $55.6 million in North America, and $103.9 million worldwide.

Critical response
The film received a 43% "rotten" score on Rotten Tomatoes based on 68 reviews with the critics' consensus: "Snake Eyes has a number of ingredients that promise a trashy fun time; unfortunately, they're lost in an energetic and stylish thriller with a frustratingly hollow core." On Metacritic, the film has a weighted average score of 52 out of 100 based on reviews from 24 critics, indicating "mixed or average reviews". Audiences surveyed by CinemaScore gave the film a grade "C+" on scale of A+ to F. De Palma himself responded to the criticisms in an interview with Mark Cousins, "There's a lot of discussion in Snake Eyes about why do we reveal who did it so soon. Well, the problem is that it isn't about who did it. It's a mystery about a relationship, two people, and how finding that out affects their relationship ... those kinds of procedural movies are extremely boring..."

title: Snake Eyes (1998 film)


text:
James P. Buchanan

James Paul "Buck" Buchanan (April 30, 1867 – February 22, 1937) served as U.S. Representative from the 10th district of Texas from 1913 until his death on February 22, 1937.

Biography
Buchanan was born in Midway, Orangeburg County, South Carolina, on April 30, 1867; later that year, his family moved to Texas and settled near Chappell Hill in Washington County. He attended the local schools of Chappell Hill, and in 1889 he received his law degree from the University of Texas at Austin.

Later in 1889, Buchanan began a law practice in Washington County, and almost immediately became involved in politics as a Democrat. He served as a county justice of the peace from 1889 to 1892, and as the county's prosecuting attorney from 1892 to 1899. From 1899 to 1906, Buchanan was the district attorney for the twenty-first judicial district.

Buchanan was a member of the Texas House of Representatives from 1906 to 1913. In 1913, he was elected to the Sixty-third Congress, filling the vacancy left by the resignation of Albert Sidney Burleson. Buchanan was elected to a full term in the Sixty-fourth Congress, and won reelection eleven times. He served in the US House from April 15, 1913 to February 22, 1937, and was the chairman of the House Committee on Appropriations from 1933 until his death.

During the 1930s, Buchanan was recognized as a member of the Miller Group, conservative Democrats who were opposed to Franklin D. Roosevelt and the New Deal, and led by lobbyist Henry Pomeroy Miller.

Death and burial
Buchanan died in Washington, D.C., on February 22, 1937. He was buried at Prairie Lea Cemetery in Brenham, Texas.

He was succeeded in Congress by Lyndon B. Johnson, then the head of the National Youth Administration in Texas and an ardent New Dealer, who later became the 36th President and vice president of the United States.

Legacy
Buchanan Dam and the lake it forms, Lake Buchanan, are named in his honor. Both are located about 12 miles (19 km) west of Burnet, Texas.

title: James P. Buchanan


text: User talk:65.94.217.137

title: User talk:65.94.217.137


text:
Skia (typeface)

Skia is a humanist sans-serif typeface designed by Matthew Carter for Apple Computer in 1994. Skia is Greek for "shadow", and the letterforms take inspiration from stone-carved 1st century BC Greek writing. The typeface was the first QuickDraw GX font, and has been pre-installed in Mac operating systems since System 7.5 (1994), and is in the current Mac OS.

Skia includes "GX variations" technology that – if an application offers the UI – allows its weight to be adjusted smoothly between thin and bold, and its width between narrow and extended. (Adobe's "multiple master" technology was similar.) In 2016 it was announced that several technology companies, including Google, Microsoft and Adobe, are adopting Apple's GX variations as the basis of the variations specification inside OpenType 1.8, and since that announcement Skia has been much used to demonstrate the capabilities of the technology.

title: Skia (typeface)


text:
List of World War II electronic warfare equipment

This is a list of World War II electronic warfare equipment and code words and tactics derived directly from the use of electronic equipment.

This list includes many examples of radar, radar jammers, and radar detectors, often used by night fighters; also beam-guidance systems and radio beacons. Many of the British developments came from the Telecommunications Research Establishment (TRE). No. 100 Group RAF and No. 101 Squadron RAF both specialized in electronic warfare, and many of these devices were fitted to de Havilland Mosquitos of 100 Group and Avro Lancasters of 101 Squadron. A substantial number of the American radar systems originated with the MIT Radiation Laboratory, nicknamed the "Rad Lab".

Equipment and code words

 * Abdullah – British radar homing system for attacking German radar sites - carried by rocket-armed Typhoons for Operation Overlord.
 * AI (Airborne Interception radar) – Night fighter radar.
 * Airborne Cigar (A.B.C.) – Combination of high-speed scanner and three high-power transmitters. Operator would watch the scanner for broadcasts in the typical night fighter MF and VHF radio bands (VHF low band, roughly 37 MHz to 49 MHz - including frequencies used for Close Air Support), if one was seen on the CRT, they would tune it and see if it was indeed an operator. If so, one of the three jammers would put out a warbling tone on that frequency, making verbal instructions impossible. Carried by 101 Sqn Lancasters based at Ludford Magna and from March 1945 by 462 Sqn RAAF, operating from RAF Foulsham. These aircraft carried an 8th crew member.
 * Airborne Grocer – British 50 cm radar jammer against early (B/C and C-1) UHF band Lichtenstein - see also Grocer/Ground Grocer.
 * Alberich – German anti-ASDIC rubber coating for U-boat hulls - tested on U-67.
 * ASDIC – British sonar system used for hunting U-boats.
 * Aspidistra - transmitter station used for Corona, q.v.
 * Aspirin – British Knickebein VHF navigation jammer (30-33 MHz)
 * ASH – Air to Surface H or AI Mk XV (U.S AN/APS-4). centimetric airborne air-to-air radar derived from ASV operating at 3 cm wavelength at a frequency of 10 GHz. Used by 100 Group Mosquitos; FAA Fairey Firefly, postwar in the Sea Hornet N.F. Mark 21.
 * ASV – Air to Surface Vessel radar. A 1.5 metre (200 MHz) VHF radar that could detect surfaced submarines at up to 36 miles.
 * Beam Approach Beacon System (BABS) ARI TR3567 - British blind-landing system using the Eureka beacon.
 * Benjamin – British Y-Gerät jammer - see also Domino.
 * Berlin, German Funkgerät (FuG) 240 night fighter radar, introduced April 1945, centimetric (microwave) frequency radar (9 cm/3 GHz).
 * Boozer – ARI R1618 fighter radar early warning device fitted to British bombers.
 * Bremenanlage - FuG 244/245, German omnidirectional airborne search (AEW-capable) radar (experimental only).
 * Bromide – British X-Gerät jammer.
 * Bumerang - German codename for Oboe-guided Mosquitoes when detected on Flammen radar - 'boomerang', from curved track flown
 * BUPS - Beacon Ultra Portable S-band, AN/UPN-1.
 * Carpet – tunable Würzburg gun laying radar jammer - from TRE; US version built as AN/APT-2.
 * Cigar (later "Ground Cigar") – earlier ground-based version of Airborne Cigar.
 * Corona – 100 Group radio transmissions using German-speaking personnel, later Women's Auxiliary Air Force (WAAFs) for spoof controlling of German night fighters to confuse German counter-attacks.
 * Chaff – shorter-length Window for use against possible German development of microwave radar, e.g. Berlin.
 * Chain Home radar – British land-based early warning radar used during the Battle of Britain - from TRE.
 * Düppel – German radar countermeasure called chaff in the US or Window in Britain.
 * Darky – British backup homing system: the pilot could be talked back to his home base by HF voice radio on 6440 kHz / 6.440 MHz
 * Diver – Integrated RAF and Royal Observer Corps system for intercepting German V1 flying bombs in flight.
 * Domino – British Y-Gerät jammer - see also Benjamin.
 * Egerland – German fire-control radar-linked Marbach and Kulmbach systems, only two built by 1945
 * Egon - German bomb-targeting system using the Erstling IFF system and two Freya radar ground stations for bomb-aiming.
 * Elephant Cigar - Allied Ground based Communications Jammer designed to jam German fighter communications during operation Overlord. This was built on a site 'near Brighton' but was not used.
 * Eureka – portable homing beacon system - ground transmitter - see also Rebecca.
 * Filbert – 29 ft naval barrage balloon fitted with internal 9 ft radar reflector, for Operation Glimmer and Operation Taxable.
 * Flammen – German plotting system for detecting Oboe-equipped Pathfinder Mosquitos.
 * Funk-Gerät — German prefix-phrase for nearly all their military avionics system designations, translated as "radio equipment" and abbreviated as FuG.
 * Fishpond – British fighter warning radar add-on to H2S, fitted early 1944 to some bombers.
 * Flensburg – FuG 227, German radar detector fitted to night fighters to detect the British Monica tail warning radar transmissions.
 * Freya – German ground based air search radar.
 * G–H – British radio navigation system used for blind bombing, from TRE.
 * GEE – British radio navigation system forerunner of LORAN, from TRE.
 * Grocer (later "Ground Grocer") – ground-based version of Airborne Grocer.
 * Gufo radar – Italian naval search radar (official designation EC3/ter) employed by the Regia Marina. Operational from 1942 to 1943.
 * H.F. D/F (High Frequency Direction Finding). – provided a radio position fix for the RAF up to 100 miles from the transmitters in Britain. The system was based on voice communications and was used for aircraft to find their home bases. With the development of GEE, its primary function ceased but it remained in use until the end of the war as a backup system and a communications system between aircraft and their bases.
 * H2S – British ground mapping radar to see target at night and through cloud cover - from TRE.
 * H2X – American 10 GHz ground mapping radar, higher frequency development of British H2S. Equivalent to S-band H2S Mark III.
 * High Tea – British sonobuoy used by RAF Coastal Command in 1944.
 * Himmelbett – German controlled night fighter method.
 * Hohentwiel – FuG 200, German UHF airborne radar optimized for maritime patrol use, named for Hohentwiel, an extinct volcano in south-western Germany.
 * Hookah – ARI R1625/R1668 British jammer-homer operating on 490 MHz (to jam the Germans' FuG 202 and 212 AI radars) and 530–600Mhz.
 * Huff-Duff – Allied HF/DF High Frequency Direction Finding.
 * Identification Friend or Foe (IFF) – means of identifying possible enemy aircraft detected on Chain Home early warning system using transponder fitted in RAF aircraft - from TRE.
 * Jackal - Allied airborne jammer for tank radios
 * Jay beams – were introduced partly as a deception to help to confuse the Germans over the use of GEE. It was nevertheless just as useful as a homing beacon. A number of transmitters, from Lossiemouth to Manston in Kent transmitted on slightly different frequencies transmitted a narrow beam across the North Sea using a S.B.A. (Standard Beam Approach) transmitter, receivers for-which were fitted to all British bombers and could be received over a range of 350 miles at 10,000 feet. Once a bomber found a beam it could fly down it back to Britain. In late 1943, all but two beams were closed with the final two shutting down towards the end of 1944 because GEE could do the job better and their use to deceive the Germans was by now redundant.
 * Jostle – 2.5kW airborne jamming transmitter carried in sealed bomb bays of 100 Group Fortresses, from TRE.
 * Kehl – series of German aircraft-mounted, joystick interface radio control transmitter sets, designated FuG 203, for use in MCLOS operation of Hs 293 and Fritz X weapons, its signals were received by the FuG 230 Straßburg units in the ordnance. Named after Strasbourg, France and Kehl, one of its German suburbs.
 * Kettenhund – German jammer of the Eureka beacon.
 * Knickebein – German dual beam VHF low band (multiple frequencies in the 30 MHz - 33 MHz band) radio navigation aid, used early 1940.
 * Kulmbach – German targeting radar based on Marbach - linked with Marbach to form Egerland.
 * Lichtenstein – German UHF (B/C and C-1 versions), later VHF (SN-2 version) night fighter radar, introduced 1941/1942, with both versions compromised after July 1944.
 * Lorenz – German VHF blind-landing system consisting of approach guidance beam (33 MHz band) and marker beacon system (38 MHz).
 * LORAN – American navigation aid.
 * Lucero – British homing system carried by some Mosquitos for homing-in on Kettenhund jammers (Eureka jammer), from TRE.
 * Mandrel – jammer for Freya early warning radar used by 100 Group, from TRE. US version built as AN/APT-3.
 * Marbach – German microwave ground-based search radar, c. 1945.
 * Metox – metre-wavelength ASV radar detector fitted to German submarines
 * Meacon – Masking BEACON - British long wave jamming station - see Meaconing.
 * M.F. D/F (Medium Frequency Direction Finding) - provided a radio position fix for the RAF up to 230 miles from the transmitters in Britain. The system was based on voice communications.
 * Mickey — American nickname for their H2X 10 GHz band blind bombing radar
 * Monica tail warning radar – British 300 MHz frequency fixed rearward-pointing radar fitted to British bombers to warn of attacking fighters - American designation AN/APS-13.
 * Moonshine – ARI TR1427 British airborne spoofer/jammer installed in 20 modified Boulton Paul Defiants (No. 515 Squadron RAF) to defeat Freya, from TRE.
 * Naxos – FuG 350, German H2S detection and homing device, not capable of detecting the Americans' similar, higher frequency (10 GHz) H2X radar.
 * Neptun – FuG 216, -217 & -218, German high-VHF-band (125 to 187 MHz) night fighter AI radar, introduced mid/late 1944, generally used the Hirschgeweih antenna setup of Lichtenstein VHF-band radar sets with shorter dipole elements, as a replacement for the compromised Lichtenstein SN-2 90 MHz AI equipment.
 * Newhaven – target marking blind using H2S then with visual backup marking, from Newhaven, East Sussex.
 * Oboe – British twin beam navigation system, similar to Knickebein but pulse-based.
 * Parramatta – target marking by blind dropped ground markers - prefixed with 'musical' when Oboe-guided - from Parramatta, New South Wales.
 * Perfectos – device carried by night fighting Mosquitos for homing-in on German nightfighter radar transmissions and triggering IFF.
 * Ping-Pong – ground-based direction finder accurate to a quarter degree, three of them could be used to make a plotting system for triangulating German radar site positions, allowing them to be attacked and disabled immediately prior to Overlord.
 * Piperack – airborne jamming transmitter carried by a lead aircraft that produced a cone of jamming behind it, within which the following bomber stream could shelter, carried by 100 Group Fortresses and Liberators, from TRE.
 * Pip-squeak – "Huff-Duff" IFF system used by the RAF in the Battle of Britain, to track fighter squadrons in the air.
 * Rebecca – portable radio beacon system - airborne receiver - see also Eureka
 * Roderich – German 4W radar jammer for use against H2S.
 * Rope – extended-length Window suspended from a small parachute; dropped by aircraft of 218 and 617 Squadrons to deceive German Seetakt coastal radar during Operation Glimmer and Operation Taxable.
 * Seetakt – a shipborne radar developed in the 1930s and used by Nazi Germany's Kriegsmarine, later improved into Freya air search radar.
 * Serrate – British radar detection and homing device, used by night fighters to track down German night fighters with early UHF-band versions of Lichtenstein.
 * Shiver – first attempts at jamming Würzburg using ground transmissions.
 * Tinsel – British technique of transmitting amplified engine noise on German night fighter voice frequencies to hinder them.
 * Village Inn - British radar-aimed Automatic Gun-Laying Turret (AGLT) fitted to some Lancasters in 1944 - from TRE.
 * Wanganui – target marking by blind-dropped sky markers when ground concealed by cloud - prefixed with 'musical' when Oboe-guided - from Wanganui, New Zealand.
 * Window – strips of aluminium foil dropped to flood German radar with false echoes - from TRE.
 * Würzburg – German ground based air search radar.
 * X-Gerät - German VHF (60 MHz band) multiple beam guided blind bombing system, replaced earlier systems that were being jammed.
 * Y-Gerät – German VHF low (45 MHz) single beam guided blind bombing system, also known as Wotan.

Tactics

 * Bomber stream – British tactical formation of aircraft based principally on trail-in-line, open structured flights to overcome the Kammhuber Line. The open structure countered swarm attacks.
 * Gardening – RAF operations dropping mines in strategic sea lanes, usually at the request of the CoS Naval Liaison Officer based at High Wycombe. As a spinoff, Bletchley Park cryptanalysts used German reports of Gardening activities as cribs in the decryption of Enigma messages.
 * Kammhuber Line – British name for the German Himmelbett radar controlled air defence system.
 * Operational research – the statistical analysis of results and anomalies, some caused by the use of previously unknown German electronic equipment or tactics based on the equipment.
 * Wilde Sau (Wild Boar) – German freelance night fighters, i.e. not parked round a visual beacon like the Zahme Sau (Tame Boar) fighters.
 * Zahme Sau (Tame Boar) – German tactic of guiding a night fighter 'parked' round a visual beacon, onto the incoming bomber stream by radar-assisted ground commentary.


text:
Ron Johnson (Canadian politician)

Ron Wayne Johnson (born November 18, 1966) is a Canadian political figure who served as a member of the Legislative Assembly of Ontario from 1995 to 1999, representing the division of Brantford as a Progressive Conservative.

Background
Johnson was born in Brantford, and was educated at the Brantford Collegiate Institute, Lambton College, McMaster University, and the Transport Canada Training Institution. Prior to his election, he was the editor of a weekly community newspaper called Brant News. During the 1993 federal election, he and other community newspaper representatives took part in a roundtable discussion with Prime Minister Kim Campbell.

Provincial politics
Johnson was elected to the Ontario legislature in the 1995 provincial election, defeating former Liberal Member of Provincial Parliament (MPP) Dave Neumann. New Democratic Party incumbent Brad Ward finished third. The Progressive Conservatives won a majority government in this election under the leadership Mike Harris, and Johnson entered the legislature as a government backbencher. He lobbied in support of completing Highway 403 during his first year in office.

Johnson considered voting against the Harris government's Bill 152 in 1997. This bill transferred the cost of social services from the province to municipalities, and Johnson expressed concern that it could result in higher property taxes for Brantford residents. He later announced that he would likely support the bill due to its amendment, after a meeting with senior cabinet ministers.

Johnson did not play a major role in the legislature and was often criticized for his absences. A 1998 newspaper report described him as "among the worst attendees in the legislature," and other Progressive Conservative MPPs openly teased him for his record. He was dropped from all legislative committees in 1997, and his office was relocated to a basement corner. There was little surprise when he chose not to run in the 1999 provincial election.

The Brantford Expositor ran a scathing editorial about Johnson in June 1999, stating there was "no way [he] could win re-election because he simply had not done the job." The paper's editor accused Johnson of ignoring the concerns of his constituents and spending more time on golf courses than in the legislature, adding that it was "galling" to learn he would collect $39,000 in severance pay.

He supported Chris Stockwell's bid to lead the Ontario Progressive Conservatives in the party's 2002 leadership contest, which was called after Mike Harris's retirement. He later backed Frank Klees's bid to lead the party in 2004, and supported Tim Hudak in 2009.

Federal politics
Johnson supported an alliance between the centre-right Progressive Conservative Party of Canada and the more right-wing Reform Party of Canada in the mid-1990s. He attended a 1996 meeting in Calgary that called for a formal alliance of the parties, and indicated that he contributed money to both parties in the 1997 federal election. He was the co-chair of a planned conference for Ontario's Young Progressive Conservatives (YPCs) in 1993, and in this capacity invited Reform Party leader Preston Manning to speak to the delegates. This idea was rejected by the YPC leadership, which postponed the conference and removed Johnson from his position.

Later life
After standing down from the legislature, Johnson was hired as director corporate development for a pharmaceutical company in Toronto.

title: Ron Johnson (Canadian politician)


text:
User talk:Spencev

yes

title: User talk:Spencev


text:
Contextualization

Contextualization may refer to:

 * Contextualization (Bible translation), the process of contextualising the biblical message as perceived in the missionary mandate originated by Jesus
 * Contextualization (computer science), an initialization phase setting or overriding properties having unknown or default values at the time of template creation
 * Contextualization (sociolinguistics), the use of language and discourse to signal relevant aspects of an interactional or communicative situation
 * Contextualism, a collection of views in philosophy which argue that actions or expressions can only be understood in context

title: Contextualization


text:
André Matsoua

André Grenard Matswa (17 January 1899 – 13 January 1942) was a Congolese Lari anti-colonial activist born near Manzakala-Kinkala in then Middle Congo, a rare influential figure in Congolese politics before independence in 1960. He inspired a messianic cult, Matswanism or Matsouanism, that emerged in the French Equatorial African capital, Brazzaville.

Life
Matswa or Matsoua (in Kikongo) was born in 1899 in a small village of Loukoua-Nzoko in French Congo. In 1925, he joined the Senegalese Tirailleurs and participated in the Rif War. In 1926, Matsoua founded Amicale des Originaires de l'A.E.F., a self-improvement group, while living in Paris. He attended events sponsored by the French Communist Party and helped develop black-based trade unions. Many came to consider Matsoua as a divine prophet, sent by God to liberate the Congolese from the French. According to author Victor T. Le Vine, Matsoua was comparable to Kimbangu, becoming a "martyr in the eyes of his followers" and developing a "quasi-religious aura".

In December 1929, he was arrested in Paris and set to be tried in Brazzaville, under the fallacious motive of swindling money of the African Indigenous people in French Congo. The money from free and voluntary contributions to the Indigenous people was also seized by the colonial administration.

When Matsoua returned to Africa in 1930, he was tried by the colonial government in Brazzaville for anti colonialism. On 19 March 1930, Matsoua asked the Court of Brazzaville for him to be tried as a French citizen with reasons of his naturalization and arrest in French territory. He was sentenced by the Court of Brazzaville to 3 years of imprisonment and was banned for 10 years from stepping into French Congo on 2 April 1930. A week later, he was sentenced to exile for ten years in Chad, where he escaped from Fort Lamy, Chad in 1935 and fled to France.

In 1940, during World War II, he was wounded on the front in Lorraine during fighting against the Germans and was sent to Beaujon Hospital in Paris for treatment. On 3 April 1940, he was arrested in his hospital bed in Paris under the accusation of attacking French state security members. He was then transferred back to French Congo and sentenced to forced labor in Brazzaville in February 1941. He was alleged to have spread pro-German propaganda around the capital. On 20 February 1941, he arrived in Mayama prison and spent another 11 months behind bars, having been tortured and beaten. He died in the prison on 13 January 1942.

Legacy
After independence, Congolese politicians of many ideological shades attempted to capitalize on Matsoua's popularity, including Presidents Abbé Fulbert Youlou, Alphonse Massamba-Débat and Denis Sassou-Nguesso, as well as the insurgent leader Bernard Kolélas. There is a statue honoring him in Kinkala.

title: André Matsoua


text:
Rhyme book

Rhyme book may refer to:
 * Rhyme Book, an album by rapper Scribe
 * Rime dictionary, a type of dictionary in ancient China
 * slang for books that musicians keep their lyrics in.

title: Rhyme book


text:
OBOE

An oboe is a musical instrument of the woodwind family.

Oboe or OBOE may also refer to:

 * Oboe (navigation), a World War II British aerial blind bombing targeting system
 * Oboe (software), a digital music backup service from MP3tunes
 * Off-by-one error (OBOE), a type of computer programming or mathematical error

title: OBOE


text:
Frances McGovern

Frances McGovern (April 18, 1927 – February 6, 2004) was a member of the Ohio House of Representatives and the Public Utilities Commission of Ohio. She was born in Akron, Ohio and lived there all of her life. She was a lawyer by trade, working in both private practice and in the legal department of Ohio Edison (now FirstEnergy). After retirement, she wrote two books, Written on the Hills, which dealt with the geographical history of Akron, and Fun, Cheap, and Easy, where she told about her life in politics.

title: Frances McGovern


text: Talk:Sphere (novel)

title: Talk:Sphere (novel)


text:
Fiorile

Fiorile is a 1993 Italian drama film about a family curse caused by greed. The film was directed by Paolo and Vittorio Taviani, and stars Claudio Bigagli, Galatea Ranzi, and Michael Vartan. It was entered into the 1993 Cannes Film Festival.

The title Fiorile allegedly is derived from the month of Floréal (April–May) in the French Republican Calendar. The film is also known as Wild Flower.

Plot
While travelling to visit their grandfather in Tuscany, two children are told the story of a family curse that has lasted two hundred years. During Napoleon's Italian invasion, Elisabetta Benedetti fell in love with French soldier Jean but while he was distracted by her, Elisabetta's brother Corrado unintentionally stole the regiment's gold that Jean was guarding, causing Jean's death by firing squad and set the curse in train. The Benedettis become wealthy, corrupt and hated by their former friends, who rename them the Maledetti, the 'cursed' (Benedetti means 'blessed'). The children's grandfather Massimo Benedetti is the last man to be directly affected by the curse but will he pass it onto them?

Cast

 * Claudio Bigagli – Corrado / Alessandro
 * Galatea Ranzi – Elisabette / Elisa
 * Michael Vartan – Jean / Massimo
 * Lino Capolicchio – Luigi
 * Constanze Engelbrecht – Juliette
 * Athina Cenci – Gina
 * Giovanni Guidelli – Elio
 * Norma Martelli – Livia
 * Pier Paolo Capponi – Duilio
 * Chiara Caselli – Chiara
 * Renato Carpentieri – Massimo as an old Man
 * Carlo Luca De Ruggieri – Renzo
 * Laurent Schilling
 * Fritz Müller-Scherz – University Professor
 * Laura Scarimbolo – Alfredina

title: Fiorile


text:
Peter Preston (politician)

Peter Langdon Preston (June 3, 1935 – October 14, 2016) was a Canadian politician in Ontario. He was a Progressive Conservative member of the Legislative Assembly of Ontario from 1995 to 1999. He represented the riding of Brant—Haldimand. He died at his residence, in Hamilton, on October 16, 2016.

Background
Preston was a non-commissioned officer with the Royal Canadian Engineers for a number of years. He also worked in sales and management insurance, and founded Preston House in 1984 as a group home for boys aged twelve to eighteen. He also founded the Rocking P Peruvian Ranch, where is raised Peruvian horses (Peruvian Paso).

Politics
Preston's first involvement in politics was as an Alderman on the Town Council in Grimsby, Ontario. He was elected to the Ontario legislature in the 1995 provincial election, defeating Liberal incumbent Ron Eddy by about 3,500 votes in the mostly rural southern Ontario riding of Brant—Haldimand. The seat was formerly known as a Liberal stronghold, and Preston's victory was regarded by many as an upset. He served as a backbench supporter of the government of Mike Harris for the next four years.

Preston's riding was eliminated by redistribution prior to the 1999 provincial election, and he chose to seek re-election in the urban riding of Hamilton East. He finished a distant second against Liberal Dominic Agostino.

title: Peter Preston (politician)


text:
Romani ite domum

"Romani ite domum" (Romans go home) is the corrected Latin phrase for the graffito "Romanes eunt domus" from a scene in the film Monty Python's Life of Brian.

Life of Brian
The scene features John Cleese as a centurion and Graham Chapman as Brian, at that stage a would-be member of the revolutionary group the "People's Front of Judea". To prove himself worthy to be a member of the group, Brian has to daub the anti-Roman slogan "Romans go home" on the walls of Governor Pontius Pilate's palace in Jerusalem, under cover of darkness, written in Latin for the Romans to read.

He completes the phrase Romanes eunt domus when he is caught by a centurion. Brian is terrified and clearly expects to be killed on the spot. Instead, the centurion corrects Brian's grammatical mistakes in the manner of a traditional Latin teacher, as he has written "People called 'Romanes' they go the house". He forces Brian to use the proper imperative verb form and accusative case and write the correct phrase, Romani ite domum, one hundred times, threatening to "cut [his] balls off" if he has not done so by sunrise. Brian does so, covering nearly every surface of the plaza with the graffiti, while supervised by two guards. When he finishes the task the following morning, one soldier says "don't do it again" and leaves with his comrade. Just as they leave, three other soldiers come round the corner and see the graffiti. Brian realises his position and races off, chased by the soldiers. In subsequent scenes, various Roman soldiers can be seen erasing the seditious graffiti.

Case of domus
The exchange on the case of domus concludes:

As a number of works on Latin note, the centurion was mistaken in accepting Brian's answer of the locative case, although the result was correct. The locative case indicates presence at or in a particular place, such as a city, town, or small island. The locative of domus, meaning a house or home, would be domi. But motion toward a place or thing was indicated using the accusative of motion towards, domum being the allative construction correctly used in the final formulation of the graffito. This confusion over the use of the locative case is an example of how even those well-educated in Latin occasionally err regarding grammatical details.

Inspiration
The sketch draws on Cleese's time as a teacher, between school and university. During this time he taught Latin and other subjects at a preparatory school, St. Peter's in Weston-super-Mare, mostly to children around ten years old. He recounts a time where he personally wrote out a word he had as a teacher misspelled, onto his blackboard a set number of times to demonstrate even-handedness, as an inspiration for the sketch.

He has also expressed the view that the sketch must seem incomprehensible today, as its references to learning Latin grammar are no longer a common or normal experience, as they were for grammar school children of his generation.

Cultural significance
From the perspective of realism, the scene has been noted as accurately reflecting the ancientness of the practice of writing graffiti on walls as a form of political protest.

As an example of humour derived from the use of language, the scene is discussed in Cognitive Linguistics and Humor Research as an instance where the expected actions of the characters—the Romans detecting a vandal in the act and immediately arresting or punishing him—are replaced by a satirical representation of classroom discourse. The centurion is concerned not with Brian's act of vandalism, but rather with his inept Latin grammar. He proceeds to walk Brian through the process of correcting his mistakes by making him analyse each word in the sentence, thereby determining the proper grammatical form. Once Brian has arrived at the correct answer, the centurion imposes a grammar-school punishment—writing lines—instead of a period-appropriate sanction for vandals or rebels. Rather than punishing Brian for writing the graffito, the centurion instructs him to repeat the act one hundred times using good grammar. The centurion then subverts the humorous substitution of a schoolmaster-pupil relationship for that of soldier and rebel by threatening Brian with castration should he fail to complete his punishment within a reasonable amount of time.

The film's satirical use of classroom discourse as a technical exercise to distract from the realities of Roman imperialism has also been compared with the contemporary political phenomenon of diverting attention from serious social issues by focusing attention on details, such as argument over the use of gender-neutral pronouns as a means of distracting attention from discriminatory practices, harassment, and legal disabilities affecting transgender persons.

title: Romani ite domum


text:
Torn Curtain

Torn Curtain is a 1966 American spy political thriller film directed by Alfred Hitchcock, and starring Paul Newman and Julie Andrews. Written by Brian Moore, the film is set in the Cold War. It is about an American scientist who appears to defect behind the Iron Curtain to East Germany. It is the first of Hitchcock's films to be released without a score by Bernard Herrmann, after the end of their collaboration.

The film was released July 14, 1966, in the United States. The film was not well received by critics on its release, who criticized the plot and the pacing. The film was a box-office disappointment, reaching $13 million worldwide, over its $3 million budget.

Plot
In 1965, Michael Armstrong, a US physicist and rocket scientist, is traveling to a conference in Copenhagen with his assistant and fiancée, Sarah Sherman. Armstrong receives a radiogram to pick up a book in Copenhagen; it contains a message which says, "Contact $\pi$ in case of emergency." He tells Sherman he is going to Stockholm, but she discovers he is flying to East Berlin and follows him. When they land, he is welcomed by representatives of the East German government. Sherman realizes that Armstrong has defected, and is appalled that, given the circumstances of the Cold War, if she stays with him, she will likely never see her home or family again.

Armstrong visits a contact, a "farmer", where it is revealed that his defection is in fact a ruse to gain the confidence of the East German scientific establishment, in order to learn how much their chief scientist Gustav Lindt and by extension, the Soviet Union, knows about anti-missile systems.

Armstrong has made preparations to return to the West via an escape network, known as π. However, he was followed to the farm by his appointed chaperone, Hermann Gromek, an East German security officer. Gromek realizes what π is and that Armstrong is a double agent, and as Gromek is calling the police, a tortuous struggle commences that ends with Gromek being killed by Armstrong and the farmer's wife. Gromek and his motorcycle are buried on the land. The taxicab driver who drove Armstrong to the farm, however, sees Gromek's picture in the newspaper and reports him to the police.

Visiting the physics faculty of Karl Marx University in Leipzig the next day, Armstrong's interview with the scientists ends abruptly when he is questioned by security officials about the missing Gromek. The faculty try to interrogate Sherman about her knowledge of the American "Gamma Five" anti-missile program, but she refuses to cooperate and runs from the room, even though she has agreed to defect to East Germany. Armstrong catches up with her and secretly confides his actual motives, and asks her to go along with the ruse.

Armstrong finally goads Professor Lindt into revealing his anti-missile equations in a fit of pique over what Lindt believes are Armstrong's mathematical mistakes. When Lindt hears over the university's loudspeaker system that Armstrong and Sherman are being sought for questioning, he realizes that he has given up his secrets while learning nothing in return. Armstrong and Sherman escape from the school with the help of the university clinic physician Dr. Koska.

The couple travel to East Berlin, pursued by the Stasi, in a decoy bus operated by the π network, led by Mr. Jacobi. Roadblocks, highway robbery by Soviet Army deserters, and bunching with the "real" bus result in the police becoming aware of the deception, and everyone aboard is forced to flee. While looking for the Friedrichstraße post office, the two encounter the exiled Polish countess Kuczynska, who leads them to the post office in hopes of being sponsored for a US visa. When they are spotted, Kuczynska trips the pursuing guard and allows Armstrong and Sherman to escape to their next destination.

Two men approach them on the pavement, one of whom is the "farmer". He gives them tickets to the ballet as part of a plan to smuggle them to Sweden that evening inside the ballet troupe's luggage. While attending the ballet and waiting to be picked up, they are spotted and reported to the police by the lead ballerina, who flew to East Berlin on the same airplane as Armstrong.

Armstrong and Sherman escape through the crowd by shouting "fire". They are hidden inside two hampers of costumes and ferried across the Baltic Sea to Sweden on an East German freighter. The ballerina, desperate to reveal the fugitives' hiding place due to subterfuge by a deckhand member of π, identifies the wrong hampers, which are shot up by a guard with a machine gun while dangling over the pier, but Armstrong and Sherman have already escaped by jumping overboard and swimming to the Swedish dock.

Background
By the time Torn Curtain, his fiftieth film, was conceived, Hitchcock was the most famous film director in Hollywood, having already reached the pinnacle of commercial success six years before with Psycho (1960). Audiences eagerly anticipated his next film. To find a gripping plot, Hitchcock turned towards the spy thriller genre, which was greatly in fashion since the early 1960s with the success of the James Bond series starting in 1962 with Dr. No. Hitchcock had already found success in that genre many times, most recently in 1959 with North by Northwest.

The idea behind Torn Curtain came from the defection of British diplomats Guy Burgess and Donald Maclean to the Soviet Union in 1951. Hitchcock was particularly intrigued about Maclean's life in the Soviet Union and about Melinda Marling, Maclean's wife, who followed her husband behind the Iron Curtain a year later with the couple's three children. With these facts as a starting point Hitchcock created a plot line involving an American nuclear physicist, Professor Michael Armstrong, defecting to East Germany. Against his will, the physicist is followed to East Berlin by his fiancée and assistant, who decides to remain loyal to him regardless of his intentions. The twist of the story is that Professor Armstrong is in fact a member of a secret spy ring and he has defected only with the idea of stealing a formula from an East German scientist.

Writing
In autumn 1964, Hitchcock offered to let Vladimir Nabokov, the author of Lolita, who had successfully helped adapt his own novel to a well-regarded film directed by Stanley Kubrick in 1962, write the script. Although intrigued, Nabokov declined the project, feeling that he knew very little about a political thriller.

As the original focus of the plot was on the female lead, the spy's girlfriend, the script was commissioned early in 1965 to Irish-Canadian writer Brian Moore, who was known for successfully tackling female characters. His well-regarded first novel, Judith Hearne, centers on an alcoholic Belfast spinster. In addition to this, Moore had adapted his own novel The Luck of Ginger Coffey into a film the previous year. Moore moved to Hollywood to work on the script. His five-page synopsis, completed on 26 March 1965, already contained two key scenes of the film: Torn Curtain's opening aboard a cruise steamer in the Norwegian fjords, and the brutal killing of undercover agent Gromek by the American scientist and a farm woman. Moore's final draft, completed by June 21, pleased neither Hitchcock nor Universal. It lacked the humor and sparkle characteristic of a Hitchcock film. On his part, Moore complained that Hitchcock had "no concept of character" and that he had "a profound ignorance of human motivation". Brian Moore's own dissatisfaction with the project was reflected in his novel Fergus (1970), which features Bernard Boweri, an unsympathetic character based on Hitchcock.

To polish the dialogue and improve the script, Hitchcock hired British authors Keith Waterhouse and Willis Hall, known for their screenplays for Whistle Down the Wind (1961), A Kind of Loving (1962), and Billy Liar (1963), the latter based on the novel by Waterhouse. They worked rewriting some dialogue, on a day-by-day basis, as the film was shot. However, their contribution was restricted by the director's resistance to change and concern for detail. His notes to them were like these: "Scene 88. We should eliminate the floor concierge. My information is that they do not have these in East Berlin; Scene 127 C. I would like to discuss the place where the sausage is carved; On Scene 139, where we had someone describing the Julie Andrews character as beautiful... do you think beautiful is perhaps too much, and cannot we say lovely instead?"

Submitted to arbitration, the Writers Guild gave sole script credits to Brian Moore.

Casting
Hitchcock had to compromise in his casting choices. Initially, he wanted Eva Marie Saint, the blonde star of North by Northwest, for the female lead. Hitchcock also spoke in 1965 to Cary Grant about appearing in the film, only to learn that Grant intended to make just one more film and then retire. Hitchcock had wanted English actress Samantha Eggar for the lead female role. Universal Pictures executives insisted on famous stars being cast for the leads. Paul Newman and Julie Andrews were imposed on Hitchcock by Lew Wasserman, the studio executive, rather than being his real choices. The director felt that the stars were ill-suited to their roles, while their salaries of $750,000 took a big part of the film's $5 million budget. At the time, Julie Andrews was Hollywood's biggest star after the back-to-back successes of her films Mary Poppins (1964) and The Sound of Music (1965). As she was much in demand, Andrews was available for only a short period of time, and that meant the production of the film was rushed, although Hitchcock was not yet satisfied with the script.

Hitchcock surrounded Newman and Andrews with colorful supporting actors: Lila Kedrova, fresh from winning an Academy Award for Zorba the Greek, as the eccentric and flamboyantly dressed Countess Kuczynska who helps Armstrong and Sherman in their escape in return for their sponsoring her to go to America; Tamara Toumanova as the haughty prima ballerina whose limelight Armstrong steals when he arrives in East Berlin; Ludwig Donath as the crotchety professor Lindt, eager  to cut the chat and get down to business; and Wolfgang Kieling as the sinister Hermann Gromek, the gum-chewing personal guide the East German authorities provide to shadow Armstrong's every move.

Filming
Hitchcock initially wanted to shoot the film entirely on location in the Eastern Bloc but could not because he refused to give East German officials a copy of his screen play. Moore later said that Hitchcock probably could have secured filming permits in East Germany, Czechoslovakia, and Poland if he had tried harder. Principal photography of the film began on 18 October 1965, on Stage 18 at the Universal back lot in Los Angeles. The shooting schedule lasted three months, including a two-week hiatus while Paul Newman recuperated from a chin infection. Filming was completed in mid-February 1966.

Although unexcited about his leading actress, Hitchcock was always very polite with Julie Andrews. About her experience making the film Andrews commented: "I did not have to act in Torn Curtain. I merely went along for the ride. I don't feel that the part demanded much of me, other than to look glamorous, which Mr Hitchcock can always arrange better than anyone. I did have reservations about this film, but I wasn't agonized by it. The kick of it was working for Hitchcock. That's what I did it for, and that's what I got out of it."

The working relationship between Hitchcock and Newman was problematic. Newman came from a different generation of actors from the likes of Cary Grant and James Stewart. He questioned Hitchcock about the script and the characterization throughout filming. Hitchcock later said he found Newman's manner and approach unacceptable and disrespectful. Newman insisted that he meant no disrespect toward Hitchcock, and once said, "I think Hitch and I could have really hit it off, but the script kept getting in the way." When Newman, a Method actor, consulted Hitchcock about his character's motivations, the director replied: "motivation is your salary." Furthermore, as Hitchcock discovered, the expected onscreen chemistry between Newman and Andrews failed to materialize.

Unsatisfied with the actors cast in the leads, Hitchcock shifted the point of view of the plot from the defecting scientist's wife to the American amateur spy and he centered his attention in the colorful international actors who played supporting roles in the film. Lila Kedrova was Hitchcock's favorite among the cast; he ate lunch with her several times during filming and invited her home for dinners with his wife. Although the length of the film was shortened in post-production, Hitchcock left intact Countess Kuczynska's scenes in the final film.

The film's climax in a theater was filmed on Sound Stage 28 at Universal Studios. Stage 28 was also used in the 1925 and 1943 versions of The Phantom of the Opera with Lon Chaney, Sr., 41 years earlier. The set was demolished in 2014.

Perhaps the best-known scene is the fight to the death between Armstrong and Gromek, a gruesome, prolonged struggle. In conversation with François Truffaut, Hitchcock said that he included the scene to show the audience how difficult it can be to kill a man, because a number of spy thrillers at the time made killing look effortless.

Alfred Hitchcock's cameo is a signature occurrence in most of his films. In Torn Curtain he can be seen (eight minutes into the film) sitting in the lobby of the Hotel d'Angleterre holding a baby. The music playing at this point is an adaptation of Funeral March of a Marionette, the theme for Alfred Hitchcock Presents.

Steven Spielberg told James Lipton on Inside the Actors Studio that as a young man he sneaked onto the soundstage to observe the filming, and remained for 45 minutes before an assistant producer asked him to leave.

The production occurred during the 1965 Watts race riots, leaving Kieling disgusted with American society. As a result, after the film was released he defected to East Germany in real life, calling the United States "the most dangerous enemy of humanity in the world today" and guilty of "crimes against the Negro and the people of Vietnam."

Music
The film had two scores. The first was written by Bernard Herrmann, a recurrent contributor to Hitchcock's work. Hitchcock and Universal asked Herrmann for a pop-and-jazz-influenced soundtrack, and even hoped Herrmann might write a song for lead actress Julie Andrews to perform. However, the score Herrmann provided was not what Hitchcock and the studio wanted, and his revisions failed to satisfy them. Hitchcock and Herrmann ended their long-time collaboration and John Addison was approached to write the score.

Although the Addison score was issued commercially in 1966 (and has been re-released), the Herrmann score has been re-recorded and reissued several times, eclipsing that by Addison in terms of available versions. Recordings of Herrmann's original studio sessions exist, and have circulated online. Elmer Bernstein made the first commercial recording of the score with the Royal Philharmonic Orchestra on Warner Bros. Records in 1978. Esa-Pekka Salonen recorded a suite from the film as part of a Herrmann album with the Los Angeles Philharmonic Orchestra in 1996. Joel McNeely subsequently recorded an expanded version with the National Philharmonic Orchestra for Varese Sarabande Records in 2010.

In the climactic scene involving the ballet at the East Berlin theatre, the music was excerpted from Tchaikovsky's Francesca da Rimini.

Rating
Torn Curtain was released without any rating on 14 July 1966 (see original 1966 movie poster above). However, the film was given an "R" (for "Restricted") under the MPAA film rating system that took effect November 1, 1968. It was ultimately re-rated PG in 1984.

Reception
After its premiere in 1966, the film was criticized, especially in terms of its production technology, as being old-fashioned. The film was nevertheless a minor hit for Hitchcock, making $7 million in the United States alone. The film ranked 8th on Cahiers du Cinéma's Top 10 Films of the Year List in 1966.

The film was not as well received by critics. Bosley Crowther of The New York Times called the film "a pathetically undistinguished spy picture, and the obvious reason is that the script is a collection of what Mr. Hitchcock most eschews—clichés." Penelope Houston, writing for Sight & Sound, commented: "What went wrong here, one suspects, was something basic in the story line." The reviewer in Variety said: "Some good plot ideas are marred by routine dialogue, and a too relaxed pace contributed to a dull overlength," adding "Hitchcock freshens up his bag of tricks in a good potpourri which becomes a bit stale though a noticeable lack of zip and pacing." "Awful," "preposterous," and "irritating slack," concluded Renata Adler in The New Yorker. The Monthly Film Bulletin wrote, "Up until about the point at which the plot makes itself clear, Torn Curtain is as good as anything Hitchcock has ever done in his other forty-nine (or is it fifty-one?) films ... The let-down comes with the verdant studio hillock that was surely never meant to fool anyone, and after this the film drops like a stone, without impetus, without imagination, without interest."

Richard Schickel, writing in Life, concluded: "Hitchcock is tired to the point where what once seemed highly personal style is now repetitions of past triumphs."

Writing in Punch, Richard Mallet asserted: "The film as a whole may be a bit diffuse... but it has some brilliant scenes, it's pleasing to the eye, and it is continuously entertaining." Richard L. Coe of The Washington Post also liked the film, writing that "Hitchcock has given us several sequences that will prove memorable." He singled out Countess Kuzynska's search for a sponsor for her escape to the United States as a sequence that stood as "a short story in itself. It could be shown independently of the rest of the film, a gripping vignette with a beginning, a middle and an end."

Torn Curtain holds a 63% rating on review aggregator Rotten Tomatoes based on 32 reviews with an average rating of 6.40/10.

title: Torn Curtain


text:
User talk:Xxshockx

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome!
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Thanks for uploading Image:Kuankong2001.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 if you release it under the GFDL, or  if you claim fair use, etc.) If you don't know what any of this means, just let me know where you got the images (on my talk page) and I'll tag them for you. Thanks so much, BrokenSegue 02:08, 1 Mar 2005 (UTC)
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Image Tagging Image:16th-crown-m.jpg
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Image Tagging Image:K17 gampopa hat portrait 150.jpg
Thanks for uploading Image:K17 gampopa hat portrait 150.jpg. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is therefore unclear. If you have not created this media yourself then you need to argue that we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then you should also specify where you found it, i.e., in most cases link to the website where you got it, and the terms of use for content from that page.

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title: User talk:Xxshockx