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Talk:Exploitation film

Origins
I'm currently doing a thesis on exploitation films and I'm just wandering: Where did they really originate from? I know the old grindhouse clubs were stip joints which later became homes from showing these sorts of films, but they did not become synonymous with the genre until the 1960s, but who first distributed exploitation films? What was the first one? Were they a soely American invention (as opposed to the horror film which had its roots in late nineteenth century gothic literature)?

It would be great to get some answers, and plus it would really help add to the article's clarity. —Preceding unsigned comment added by 77.89.146.210 (talk) 13:57, 9 October 2008 (UTC)

 * I added some historical material pointing out that the designation is more of an American thing, that what Americans call 'exploitation' may be 'transgressive art' to the Europeans. That makes the definition of 'the first one' tricky. After all, porn was invented shortly after the camera; but it would be good to know at what point cinema developed an underground. It's clear that they proliferated with the demise of the Hays Code, a topic that could use some expansions. The question of who distributed them is interesting and would be good for the article, but will probably take some digging to find out how the distribution system worked in the earlier days of cinema. Since major studios sometimes owned theater chains, and did not produce exploitation films, what theaters showed these, and who served them? GuySperanza (talk) 20:10, 17 January 2010 (UTC)

Changes
Hi,

I've recently made quite a lot of additions to the exploitation film page, and would appreciate a peer review. --Jahsonic 08:43, 20 August 2005 (UTC)

What is an exploitation film? It is not addressed in the article. Roman Soldier 04:54, 21 December 2005 (UTC)

 * Er, it's not? What's the first paragraph all about, then? -- Antaeus Feldspar 18:35, 21 December 2005 (UTC)

 * I've revised the opening to more directly describe the subject in the first sentence.

I believe the words 'eschew' and 'prurient' are not appropriate in an encyclopedia article. Whoever wrote that sentence obviously just needs to be reassured that he or she is intelligent, yet, ironically, the very use of those words proves the opposite. —Preceding unsigned comment added by 99.140.224.99 (talk) 14:21, 17 August 2008 (UTC)

suggested merge
I think the merge of B-movie is a bad idea; surely not all B-movies are explotation films. I think the articles stand well on their own. Same goes for Z-movie. On the other hand, merging grindhouse makes sense since this already has a section on that. Brighterorange 00:07, 2 January 2006 (UTC)

So Ron Reagan starred in explotation films? Next thing, wikipedia will list ketchup as a vegetable. Ghosts&empties 17:57, 3 January 2006 (UTC)

Merging all these things together would be a bad idea. Mabey some of these things are Explotation films, or whatnot, but merging them altogher will result in an article that is far to complex to find out the thing you are looking for. Keep them seperate.

in that case please rewrite Exploitation film to clearly distinguish it from B-movie and vice versa as to a layman like me i'm totally confused by all these different classifications that all appear to be the same thing. Catherine breillat 21:52, 4 January 2006 (UTC)

Some B-movies are exploitation films but not all exploitation films are B-movies. A B-movie is a movie with acting, writing, directing and production values not quite up to par with A-movies, they are not necessarily designed to shock or titillate like exploitation films. Anthopos 21:34, 5 January 2006 (UTC)

Suppose that you're a filmmaker in the 1950s. You get someone who sold a few stories to the pulps back in the heyday of pulps to turn one of his old stories, a by-the-numbers crime-and-punishment story, into a film. You line up an old actor who used to pack them in the theatres, and a young would-be star who might actually be good if he can learn not to overact, and crank out the flick, directing it yourself to avoid paying someone else. That's a B-movie.

Now suppose you're another filmmaker in the 1950s. You open up your paper and read about Charles Starkweather's rampage across the Midwest. You get on the phone immediately to your one friend who works for a major studio; he assures you that the major studios would never dare risk such tastelessness as to rush out a film about a spree killer and his barely-pubescent girlfriend. You crow with delight to hear that you're not going to have competition; before the day is out you've lined up a hammy young actor who can snarl and wave a gun on cue, a girl who can't act to save her life but will bare her breasts if it means starring in a movie, and you've got a hack writer to churn out most of the script but you're writing in extra sex scenes to make sure they're lurid and scandalous -- after all, if your film gets banned in one town because it's so shocking, that means you're going to have huge crowds for it in the next town over, because everyone wants to see what they know they're not supposed to see. That's an exploitation film. -- Antaeus Feldspar 23:56, 5 January 2006 (UTC)
 * Very well put, altho your definition of 1950s B-movies is better suited to 1970s (post-studio-era) B-movies. In the 50s, studios had A- and B-list directors under contract just like they had A- and B-list actors. --Tysto 04:08, 8 January 2006 (UTC)

Distinctions
The proposed merges do not make sense to me. Here's why:

A B-movie, a matter of budget and quality, originally refered to products of the Hollywood studio system with low production costs, obviously as opposed to their A-movies. The heyday of the B-movie was 1935 through around 1960 when the studio system collapsed. Making these movies at a lower standard of quality served multiple purposes: training ground for directors and stars, 'filler' material for studio-owned theatres, smoothing out holes in the production schedules. Sometimes B-movies were accidentally successful, like Casablanca. In a looser sense 'B-movie' has been used to refer to any movie with substandard production values.

A Z-movie, a matter of budget and quality, is a less exact term for movies with extremely low production values. I've seen it used to refer to the output of Poverty Row or to independent producers, but never to the output of a major studio.

Exploitation film, a matter of content, refers to movies whose chief attraction is violent, prurient or other sensationalistic content. The heyday of exploitation film is probably from 1965 through now, but the category stretches back at least to the 1930s and Kroger Babb. Up through the late 1960s the major studios did not touch exploitation films. They were too worried about their reputations and the Production Code. One case after 1960 is when 20th Century Fox chose to distribute Beyond the Valley of the Dolls in 1970, but it's unusual.

Paracinema is new to me, I have no opinion about it, other than it looks like a pretty loose category that could encompass all of these.

Does this help? --Lockley 01:39, 6 January 2006 (UTC)

 * This is exactly the conclusion I came to just now after seeing the merger on Proposed mergers and reading the three relevant articles (B-movie, Paracinema, and Exploitation film). Since the consensus seems to be against a merger, I'm removing all merge tags and taking it off the proposed mergers list. | Klaw ¡digame! 20:20, 20 January 2006 (UTC)

I too have to agree that B-movie and Exploitation films should not be merged. There are many examples of early cowboy films and other inexpensively done films like Gun Crazy that are absolutely B-movies, but not necessarily exploitation. Exploitation films are necessarily defined by their content. B-movies are completely B due to their budget. Sensorium 05:00, 7 February 2006 (UTC)

Guinea Pig series not "simulated snuff"
The article uses the Guinea Pig series as an example of snuff simulation, a "sub-sub-genre" og shock exploitation. While it can be argued that the second instalment of the Guinea Pig series, "Chiniku no hana" (aka "Flower of flesh and blood"), was essentially a snuff simulation, this does not apply to any of the other movies. Some seem to think that the first film, "Akuma no jikken" ("Devil's experiment")is a fake snuff; I dispute this because the girl victim, as far as I know, isn't actually shown being killed at all (though it might be argued that her death is implied, or that she might be dead in those scenes where she is shown dangling from a tree in a sack), so it can't be called a snuff simulation. As for the other movies, none of them contain anything that could be called snuff, allthough many of them are exploitative (and very comical). Thus I changed this in the article. Hope nobody minds. Mogura 17:41, 7 July 2006 (UTC)

Grind House
I added an alternate link to the 2007 film Grind House, as I was redirected to this page by looking for "Grindhouse". If this is not appropriate, please revert. Erik 22:54, 24 July 2006 (UTC)
 * It is somewhat important but highly confusing. XdiabolicalX 00:38, 8 October 2006 (UTC)

Since Grind House redirects here, I added this term also to the introductory section. Tikiwont 16:18, 5 November 2006 (UTC)

In the article it claims that "grinding out" movies is a reference to hand crank cameras. This seems like nonsense to me, I don't think the term to "grind out" lots of something has cinematic origins at all. It seems like someone just thought the two things were similar and stuck that in the article on his own whims. I'm taking it out.

Verification on Bump and Grind origins: I'd like to see a citation on Grindhouses being named for 'bump and grind' burlesque houses. I live in the land of the now extinct grindhouses. Wikipedia was the only place I have read this. The generally held conception is that grindhouse was a term used for places that used to play films from studios like Troma, the Chinese market and other low budget studios that would 'grind out' film after low budget film. They didn't cost much to make or for the theaters to buy.

The reason I question this also is the burlesque houses here were more the type of runway and pole setups. They usually weren't big enough to be real theaters. We didn't have a vaudeville era with strippers on a big stage and comics etc. Burlesque here was and still is just strip joints which were just converted storefronts and restaurants. Although I was in one stripjoint that used to be a theater but never a theater that used to be a stripjoint. Well there are the newer "Gentleman's Clubs" which can be pretty big. But they came in the nineties. I am not expert enough on grindhouse theaters to say its wrong. It just sounds wrong based on my experience of Los Angeles. So I would like to see a citation.

"One of the most famous grindhouses in American cinema is Troma, which created the Toxic Avenger series along with a variety of other cult films."

Um... the paragraph this closes just finished explaining that grindhouses were movie theaters. Troma is a studio. I think this sentence needs to be struck. Monkey Bounce 00:25, 28 July 2007 (UTC)

 * My impression is that the "grindhouse" was an urban theater showing the kind of exploitation movies usually associated with the rural drive-in theaters: "B" or double-bill movies, plus the soft porn and "mondo" movies. After our local mall multi-plex took over booking "A" list single-bill first-run movies, our old grand theater downtown started showing second-run "A" movies and midnite movies like "Flesh Gordon" and "Groove Tube". We never had burlesque theaters. The explanations of the origin of the term "grindhouse" all strike me as after-the-fact surmise or speculation. When was the first use of the term and in what context?Naaman Brown (talk) 16:25, 13 April 2008 (UTC)
 * According to Emily Booth on the dvd trailer compilation : 'Grindhouse: Trailer Classics' the term 'grindhouse' refers to the defunct 'bump n' grind' burlesque theatres on sleazy 42nd Street where these exploitation films were shown. The name referred to these venues - not the production process. Colin4C (talk) 16:16, 25 April 2008 (UTC)

On www.grindhouse.com there is an explanation of the origin of the term grindhouse: Many of these inner-city theatres formerly featured burlesque shows which included "bump and grind" dancing, leading to the term "grindhouse. However, I don't know how reliable this source of information is! It could be used as a reference though. (131.211.109.244 (talk) 19:39, 5 June 2008 (UTC))
 * Thanks. Also one of the characters in the 1943 film Lady of Burlesque refers to the venue they are performing on 42nd Street at as a 'grindhouse'. Colin4C (talk) 13:53, 17 August 2008 (UTC)

the term itself
It would be nice if the article could explain why they are called "exploitation" films. Who or what is being "exploited", or am I missing the point entirely? I am probably not the only person confused by this term. — coe l acan t a lk  — 04:16, 30 December 2006 (UTC)
 * I have to do some work on this article. The term is mostly about the subject matter. --badlydrawnjeff talk 04:52, 30 December 2006 (UTC)

I have edited the article in the very first paragraph to immediately address these concerns while trying to maintain as much as possible the intent of the previous author.

The opening should now be more direct and economical and very specifically addresses what areas of the public psyche are being exploited. The previous was more equivocating about the term exploitation. Since it handles a lot very quickly, it tends to make portions of the following paragraph dealing with advertising and promotion redundant. And I have done nothing about that for fear of rewriting everything in my image of what it should say.* — 75.84.87.244 08:10, 27 April 2007 (UTC)

Just noticed someone adjusted the advertising paragraph and shifted my list down. Very well done the opening is really shaping into a much better article than was there this morning. — 75.84.87.244 08:21, 27 April 2007 (UTC)

 * The rewrite misunderstood the origin of the term "exploitation". Exploitation films were not called so because they "exploited" the audience's baser instincts, but because they relied on heavy promotion, or "exploitation", of the film's contents. "Exploitation" existed as a common show business term for promotion long before "explitation film". The show business bible Variety used it regularly, for example, in sentences like, "Heavy exploitation in opening week could bring out audience for this peculiar pic." — Walloon 14:21, 27 April 2007 (UTC)

Thanks. Subtle but important and educational distinction...just as it should be. — 75.84.87.244, 08:27, 27 April 2007) (UTC)

 * Exploitation in movie terms seems to refer to the advertising and selling of the movie. With "The Beast with a Million Eyes" or "I Changed My Sex" the posters existed before the movies were even scripted, much less filmed. Of course, the movies exploited the public interest in the shocking or astounding subject matter as well. With most exploitation movies, the ads or trailers are more entertaining than the movies. It is a double-edged term.Naaman Brown (talk) 16:35, 13 April 2008 (UTC)

Terrible quality; "Subgenres" needs a complete re-write
First of all, "Shock exploitation" is a purely fictional "subgenre". The films listed fall into the actual subgenres of "Rape and revenge", "Pseudo-snuff", and "CATIII".

The term itself is redundant: most, if not all, exploitation is meant to be shocking.

Plus, "Pornochanchada" (I believe I spelled that right) is a subgenre of sexploitation, and I would go as far as arguing that "Chambara" is a subgenre of splatter films. These specific sub-subgenres shouldn't be listed as strictly subgenres of exploitation.

These are the subgenres I believe should have a small sgement written about them:

 * Blaxploitation
 * Cannibal films
 * Mondo films
 * Nazisploitation
 * Nunsploitation
 * Rape and revenge
 * Sexploitation
 * Splatter films
 * Women in prison films
 * Zombie films

...and these are the ones I believe should be listed under "other subgenres" -

 * Bruceploitation (?)
 * Dyxploitation (?)
 * CATIII
 * Giallo
 * Hixploitation (?)
 * Pinku eiga
 * Pseudo-snuff

Helltopay27 01:51, 12 April 2007 (UTC) http://en.wikipedia.org/wiki/Chambara http://en.wikipedia.org/wiki/Talk:Samurai_cinema#Exploitation.3F — Preceding unsigned comment added by 88.115.102.214 (talk) 16:59, 22 March 2013 (UTC)
 * Chambara isn't a subgenre of exploitation, although some chambara films are exploitation.

Changes
i added to the "grind house" section of this article stating that mark kermode believes the eponymous move Grindhouse to be not of the genre. —Preceding unsigned comment added by 88.110.3.139 (talk) 15:37, 12 October 2007 (UTC)

B-Movie and Exploitation
What's the difference between B-Movie and Exploitation ? Is it about the genre or the times when it was made ? (unsig 00:36, 3 December 2007 (UTC))

I Would say that the primary difference is in the content. A low-quality monster movie of the type currently made for the Sci-Fi Channel would be a B-movie. What takes it to the level of exploitation cinema is the addition of gratuitous violence, nudity, etc. Exploitation, though not universal, is generally applied to films from the 60s and 70s while B-movies are still made. 69.181.55.239 (talk) 09:08, 14 May 2008 (UTC)

Quentin Tarantino
Why is Quentin Tarantino not mentioned anywhere? Some high-budget and star actor movies have been mentioned as being exploitation movies, so that should not exclude him. In all other ways, his movies seem to define the genre, right from the early Three Stooges take-off on up. - Tenebris —Preceding unsigned comment added by 216.254.156.138 (talk) 01:36, 17 June 2009 (UTC)
 * That's a good point, his films often pay blatant homage to many of the films listed here. However, Death Proof is mentioned in the article. GuySperanza (talk) 01:24, 26 July 2009 (UTC)

The Deep
Why is The Deep listed as a "nature run amok" film? Was the writer thinking of a different movie? The Deep has human villains, it doesn't have any animal content. Also, Night of the Lepus predates Jaws, although it is mentioned here as being inspired by Jaws. In fact, the whole "nature run amok" subgenre may have experienced a revival after Jaws (and largely because of increased ecological awareness in the 1970s), but it can be traced back to the "giant animal" films of the 1950s such as Them!, Tarantula, et al. It's also debatable whether Orca belongs here: it was marketed as a "nature gone wild" film, but it plays out like more of a traditional revenge film. It's not about a generalized attack of nature on man, it's a personal vendetta between the whale and the sailor. GuySperanza (talk) 01:26, 26 July 2009 (UTC)

I Am Legend
The final sentence of the section on "Zombie" films is incorrect. Some of these modern movies, such as 28 Days Later, I Am Legend and Planet Terror provide a new twist for the genre in that their zombies are not so much reanimated dead as they are living humans infected with a disease that gives them zombie-like qualities. I Am Legend was originally a Richard Matheson story in the early '60s, about a disease that turned the entire human population into vampires. Among other movies (notably, The Omega Man), Night of the Living Dead was adapted from this story. So, what is being called here a "modern twist" is actually the origin of the entire genre. Nightmare City is another earlier example of "infected", as opposed to undead, zombies; also, Rabid, Virus/Hell of the Living Dead, and The Grapes of Death. GuySperanza (talk) 15:00, 30 July 2009 (UTC)

Improve to B-Class
I like this article a lot. I'm looking over the checklist for improving it from Start-Class to B-Class status. I would put it in for promotion, but I don't think it has enough citations to pass. The grammar and structure are solid. Is there any dispute that the article is complete? Are there any major facts missing, or are there any images or infoboxes that it ought to have? If the main points can be supported with citations (which will probably have the side effect of fleshing out the article a little bit), the article can advance in class. GuySperanza (talk) 15:35, 10 August 2009 (UTC)
 * Answering my own question with a question: does Eurotrash belong here as a subgenre? GuySperanza (talk) 19:44, 17 August 2009 (UTC)

Well Eurotrash has similar (sub-?)sub-genres to Exploitation in the US but still characteristic... Maybe it is worth a mention, anybody who has even seen an Italian giallo, an Italian post-apocalyptic movie or a French sexploitative-artistic vampire flick could tell it apart from a horror-thriller or a sexploitation from the US. Virtualdog (talk) 11:40, 23 August 2010 (UTC)

History
In the "History" section, the first section needs work: "Exploitation films feature uncut unrated material. They specialize in numerous sex and nudity scenes, bloody gore, violence, and taboos. They were most popular in the late 1960s to late 70s. Most are low budget films that would not be played in theaters today and would most likely receive an NC-17 rating." Using some good references would clean this up. It's not true that most exploitation films were unrated and would most likely receive an NC-17 rating, a vast number of them were rated "R". You could also find examples of "PG" rated exploitation films that fit in a subgenre but don't feature a high level of sex or violence (Darktown Strutters, for one, maybe also Car Wash). Some were submitted for rating and received an "X" rating. In that case, you've got "uncut" material that is not unrated. The word "uncut" should be changed to "uncensored", anyway, as it's more specific. All movies are edited: even a G-rated movie could be said to have "cut" and "uncut" material, so "uncut" is basically meaningless. It would also be good to discuss some of the reasons that these would not be played in theaters today, i.e. the advent of direct-to-video films and the decline of the drive-in theater. GuySperanza (talk) 20:20, 11 November 2009 (UTC)

 * The connotative meaning of the word "uncut" in this context would be "censored material/scenes which had been cut, now are included" or something to that effect. You are correct "uncensored" would be more accurate, and true any and every movie has cut and uncut material. However, its over stating the point by saying "uncut" is "basically meaningless" because it does in fact mean or at least imply a specific meaning (which is consitant with its intended meaning) to most people, regarding these genres of films. I don't know where the mention of uncut material was in this article if it was deleted. Are you speaking of movie studios advertising versions of their films as "uncut"? Either way I dont see any problem with the use of the word in this case. - Racerx11 (talk) 03:13, 17 March 2010 (UTC)

 * Advertising films as "uncut" would be fine, but the context was somebody trying to define exploitation films as "films that feature uncut material". If the point is to describe the kind of material these films contain, simply saying "uncut" is far too vague, and rather inaccurate. GuySperanza (talk) 02:48, 1 April 2010 (UTC)

 * Aw shoot! I see it now. In your excerpt in your first post: "Exploitation films feature uncut unrated material" I see your point. In this case "uncut" makes little sense once you really think about how its used here. Must have missed it when I read through. Sorry bout all that. Racerx11 (talk) 02:06, 10 April 2010 (UTC)

New Subgenre: Remakesploitation
I think there should be a section about Remakesploitation: The act of unauthorized remakes of popular/big films. Such as "Lady Terminator", films from The Asylum or the controversial remake of Oldboy: "Zinda". —Preceding unsigned comment added by 86.151.118.188 (talk) 20:26, 9 June 2010 (UTC)

 * Agreed, but the section as written has numerous problems, so I'm rewriting it completely. First of all, "mockbuster" is a well-established name for the genre; few use the name "remakesploitation". Second of all, that section was written with not one single reference cited, other than mentioning a blogger. Websites and blogs are not reliable sources of information. Third, the section as written was ungrammatical and incoherent. Fourth, there's barely a nod given to the history of the subgenre, which is one of the problems caused by lack of references. I've removed most of the original material, and replaced it with solidly-researched material. The rest, I'll edit and keep if I can find some references supporting it (and if I can make sense of what's written). Dementia13 (talk) 01:51, 2 July 2010 (UTC)

One sentence in intro paragraph
I am curious about a particular sentence in article's intro paragraph: The term "exploitation" is common in film marketing, used for all types of films to mean promotion or advertising. Is this correct, and if it's so, what's that supposed to mean? --Wayfarer (talk) 19:52, 1 October 2010 (UTC)

Rape and Revenge Films
From what I know, The Last House on the Left is far better known than I Spit On Your Grave, contrary to the article's claim. The budget and box office gross of both respective remakes just about says it all. The Last House on the Left was the name attracting a bigger production team and a bigger audience.71.162.2.215 (talk) 07:54, 21 November 2011 (UTC)

GOCE copy edit, March 2012

 * Linking directors' names: where directors are mentioned independently of specific films, I've kept the links, but where they are right next to films, as in "Stanley Kubrick's A Clockwork Orange", I have unlinked the director's name. This to avoid running two blue-links together, and because the information is readily available from early in the film article. Also, readers of this article are probably more likely to follow links to films than to directors. --Stfg (talk) 13:01, 7 March 2012 (UTC)
 * Studios treated the same. --Stfg (talk) 14:56, 7 March 2012 (UTC)
 * Date of Beyond the Time Barrier: given as 1960 here but 1959 in the film's article. To avoid controversy, I've just removed the date. If experts want to restore it and make the articles consistent, great. --Stfg (talk) 13:01, 7 March 2012 (UTC)
 * Piped links losing date information: several piped links here take a form like The Accused, which creates ambiguity for the reader because there are several films of that date. Better to pipe to something like "The Accused (1988)". Where I spotted it I changed it, but I'm not a film buff and I'll have missed most of them. --Stfg (talk) 20:26, 7 March 2012 (UTC)
 * Steven Spielberg’s Munich: Does it really fit the definition given in the lede: "An exploitation film, however, relies heavily on sensationalist advertising and broad overstatement of the issues, regardless of how they contribute to the intrinsic quality of the film"? My understanding is that it's a mainstream historical film. So what if it's about jews? Many films are. The source doesn't support calling it Jewsploitation, either. --Stfg (talk) 12:28, 8 March 2012 (UTC)
 * Tags: Article was tagged as POV, but it wasn't explained on the talk page, and I didn't find any except a very small number of peacock terms that I took out. I removed the tag. But I added example farm -- less would definitely be more here, as the examples sometimes rather overwhelm the explanation, especially with so much blue. --Stfg (talk) 14:38, 8 March 2012 (UTC)

Disputed Subgenre: Hatsploitation
I'd say this section is clearly intended as satire. I reverted it once but it was reinstated by anonymus IP who claimed to believe in it. Original addition was by different IP-user. The overall approach seems inspired by avant-garde manifestos such as Dogme 95. As such this insertion is essentially a parody, and quite a funny one, but not encyclopedic. My initial reaction is -- thanks, you've had your fun, now let's put the article back how it was :) But let's WP:assume good faith and check out its references.

The article refers to four films: Kleinman, The Fedora, El Salvador and Sombrero. Do any of these have IMDB entries for example? I cannot find any further info about Leon Cushman or Ross Manum either. And there are three citations from periodicals -- Contemporary Cinema, The Massachusetts Filmmaker and The Motion Picture Medium. Can anyone provide details for these journals, such as ISSN, publisher, or a listing in a major reference library? I've searched the British Library catalogue and this resource [] from MOMI for them with no results. FrankP (talk) 12:02, 30 November 2012 (UTC)
 * Moved section to bottom per talk page convention The journals do not appear to exist, the films don't appear to exist and the term "Hatsploitation" searched on google only brings up the wikipedia page.  It is most likely a hoax or, if, real so obscure that it is not notable in any way.  I am removing the section because it fails WP:V (the "references" given are fake, the journals don't appear to exist).  It is up to the person adding the information to prove its notability and to verify the information BEFORE adding it into the article.  Wikipedia does not work by adding your thing made up one day, slapping a citation/verification needed tag on it, and then hoping someone will see it an write about it.  If someone can prove that the journals exist (this would be providing a link to a publisher or an ISSN) then at least we can argue if the thing is notable, but without verification that it even exists, it has no place in the article. Ravendrop 00:40, 1 December 2012 (UTC)

Redsploitation Films
Why is there no mention of Native American themed exploitation films? Shouldn't this be listed as it;s own sub-genre with Billy Jack, Navajo Joe and Soldier Blue starting them off? How about the Thunder Warrior Trilogy? Ever heard of a little film called Scalps? How about Go Tell Them Willie Boy is Here or War Party?, There are many lists in this category on Amazon. Come on people! Those poor Native Americans... and now they have fucking Johnny Depp's Tonto to contend with? They need our help here people!

Canadian Disaster Movies
There should be a category for Canadian Disaster Movies. There are so many of them on cable tv... — Preceding unsigned comment added by 96.20.133.8 (talk) 04:14, 20 March 2015 (UTC)

Gone in 60 seconds is not exploiting
Gone in 60 seconds (1974). For what i know, i've seen this film, and it doesn't senselessly show cars crashing to gain attention. In this movie they created rather a sort of a classic of car chase. On the contrary - all other films with car chasing (almost all action movies) after this movie seem to have a car scene just for the exploitation of it. This film was (seems) stuffed here just because it is "about cars", but it's not exploiting. It may be called B-grade because car chasing is such a thin subgenre, and also because it's an action subgenre, but that would be wrong again. — Preceding unsigned comment added by 37.190.36.133 (talk) 17:24, 6 December 2015 (UTC)

Did exploitation films somehow influenced tv series?
I noticed that many series from Prestige Tv(HBO,Showtime,starz,netflix) have a lot of exploitative elements(High-impact violence,sex,nudity) theorically speaking could be said that exploitative films somehow influeced tv shows and can those shows be considered exploitative? — Preceding unsigned comment added by 2804:14C:85A3:420D:48F:3420:3B0C:12CC (talk) 06:24, 8 April 2018 (UTC)
 * Carsploitation definitely had an influence on 'The Rockford Files'. James Garner mentioned in an interview that all the car chases had to substitute for the missing gun violence in order to please the FCC. — Preceding unsigned comment added by 2003:ED:273B:8730:E8EE:80EC:158B:AF2C (talk) 14:51, 31 January 2022 (UTC)

Movie Genres Vs Exploitation Genres
I feel like the encyclopedic listing of sub-genre examples is confusing major motion pictures (those that target world-wide audiences and received critical acclaim) with exploitation films, which do not and usually have not. "Harold & Kumar" and "Knocked Up" are not examples of any kind of Exploitation sub-genres, as they are not Exploitation films at all. I think we need to be more careful when listing examples that they not only fit the genre/sub-genre description, but also qualify as Exploitation films at all. I may try to find time later to purge the examples of major studio blockbusters - Sheriffjt (talk) 19:31, 28 December 2019 (UTC)
 * What makes something an exploitation film is a citation that says it is. Editors shouldn't use their own judgment to determine whether something is an exploitation film – this is original research. NinjaRobotPirate (talk) 05:39, 29 December 2019 (UTC)

Christploitation page creation
Hi all, longtime listener, first time caller.

I wanted to ask for help creating a page for Christploitation. This is a slow learning process for me, apologies for my page-editing missteps so far, as I'm nearly sure that I've made some. Will dig more for how to do this correctly. Basically just trying to create that page (at least a stub to start with) for "Christploitation" b/c that genre name is so spot on, in that it is exploitation content. Though I do not support the producer's views, in full transparency, I (and many others simply needing work) have indeed worked on "Unplanned," so I'm not rightly sure I Should be doing this page creation. Perhaps it's best to leave it up to you the group to make that happen. But within the field, I have not see this genre name used, so is was exciting to read. I think the genre name, if more broadly used, best informs audiences of what they're going in for. Lrayd (talk) 21:25, 5 August 2021 (UTC)

cancel! I am getting information about notability guidelines. thanks all Lrayd (talk) 22:45, 5 August 2021 (UTC)

 * Cool! Welcome! Rray (talk) 22:46, 5 August 2021 (UTC)

Wiki Education assignment: History and Theory of New Media
— Assignment last updated by Takeyce (talk) 04:20, 7 December 2022 (UTC)

Monetary gain?
Are all exploitation films just to get a quick buck? What reference is being used for this? Films like spaghetti Westerns and Splatter films include much more artistic statements than a cash grab would indicate. 2603:6010:11F0:3C0:54F0:BFD7:3ECF:A9 (talk) 20:45, 7 October 2022 (UTC)

Tactical Exploitation?
There has been of late a spate of films such as John Wick, The Contractor, Wrath Of Man, etc. A common link is that they all feature prominently high competence, beyond simply informing the audience that the character is good at something. Instead, the characters are seen to reload realistically and on time, make use of modern tactical equipment, and operate using tactics taken from real life. --RADONVALKYRIE (talk) 03:02, 28 April 2024 (UTC)

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

title: Talk:Exploitation film


text:
Secession (disambiguation)

Secession is the act of withdrawing from an organization, union, or political entity.

Secession may also refer to:

Political secession

 * Liberal Union, also called Secession, a leftist break-away from the National Liberal Party in the German Empire
 * Secession in the United States
 * Killington, Vermont, secession movement, current court battle over the voted defection of a Vermont town to New Hampshire
 * Missouri secession, a controversy over the double secession status of Missouri in the American Civil War era
 * Ordinance of Secession, an ordinance ratified by the seceding states that was one of the causes of the American Civil War
 * Secession in New York, movements to support the secession of New York City from the state or union
 * Secession of Quebec (disambiguation), articles about the possible secession of Quebec from Canada
 * Secessionism in Western Australia, a movement for political independence
 * Urban secession, a movement for the quasi-secession of a city

Social secession

 * 1857 Secession, secession from the Reformed Church in America in 1857 which led to the formation of the Christian Reformed Church in North America
 * Aventine Secession (disambiguation), secessions of the Aventine district in Rome
 * First Secession, from the Church of Scotland in 1733
 * Secessio plebis, the original secessions of ancient Rome
 * Secession of 1834 or Afscheiding, secession from the Dutch Reformed Church in 1834 which led to the formation of the Christelijke Gereformeerde Kerken

Arts movements

 * Secession (art), the series of secession movements in art during the late 19th and early 20th century, including:
 * Berlin Secession, the 1898 break from the Association of Berlin Artists
 * Sonderbund westdeutscher Kunstfreunde und Künstler, the Düsseldorf secession of 1909
 * Vienna Secession, the 1897 secession that led to the Austrian branch of Art Nouveau
 * Photo-Secession, a movement that promoted photography as a fine art

Other uses in arts, entertainment, and media

 * Secession (band), a 1980s Scottish synthpop band
 * Secession (magazine), a 1920s American expatriate literary magazine
 * Secession, a collaboration album between Starringo & Aha Gazelle
 * "Secession" (Succession), an episode of the television series Succession

title: Secession (disambiguation)


text:
Talk:July 1932 German federal election

Party name
Shouldn't it be "National Socialists" or something other more in line with the "official" name instead of the colloquial "Nazi Party" monicker? -- Nils Jeppe 08:45, 20 August 2005 (UTC)

Nils Jeppe I totally agree, but for some reason the hostile propaganda-term "Nazi" -- which members of the NSDAP never called themselves -- is standard on Wikipedia. Your Buddy Fred Lewis (talk) 08:15, 26 September 2014 (UTC)

Image copyright problem with Image:Nsdap1932.jpg
The image Image:Nsdap1932.jpg is used in this article under a claim of fair use, but it does not have an adequate explanation for why it meets the requirements for such images when used here. In particular, for each page the image is used on, it must have an explanation linking to that page which explains why it needs to be used on that page. Please check

 * That there is a non-free use rationale on the image's description page for the use in this article.
 * That this article is linked to from the image description page.

This is an automated notice by FairuseBot. For assistance on the image use policy, see Media copyright questions. --07:10, 23 September 2008 (UTC)

I think the picture has a place here, but don't know enough about the formalities to provide the rationale. Str1977 (talk) 12:16, 28 February 2009 (UTC)

Remove nonsense
I basically rewrote the background etc. sections, which were created and totally messed up by this edit. Problems were:
 * an endless going-on about things not related to the parliamentary election e.g. the presidential elctions in detail, the SA ban (the lifting of which did not make the SA any more "legal" than it was before the ban occured only a few weeks earlier), the Preußenschlag (which was related in a most stupid way: "As a result Von Papen had the strongest political party, the Social Democrats, deposed." No, Papen deposed the SPD-led government in Prussia - the largest state - that had recently lost its majority but where no new government could be formed and assumed the administration himself. It proved a major blow for the Weimar Republic but it has absolutely zero to do with the election results.)
 * false claims like
 * that two rounds in presidential election somehow shocked the Germans (it was perfectly normal and still is with similar systems, e.g. contemporary France)
 * that the July elections were the third parliamentary elections that year - in fact they were the first but they were premature (the schedule would have seen elections in 1934)
 * Papen was hugely unpopular (that much is correct) but he had no "his own faction" as he had left his party upon becoming chancellor (as he was deemed a traitor)
 * "Nazi control of the Reichstag was a culminating moment in the death of the Weimar Republic" - there was no Nazi control of the Reichstag until after Hitler had been appointed in January 1933 (and even then, in the March elections 1933 the Nazis failed to win a majority) - in July 1932 the Nazis merely became the largest party and according to custom and with the support of all Göring became President of the chamber, which gave him certain powers regarding procedure but nothing more.
 * repeated going on about the failure of Weimar politicians and its system without giving any proper explanations
 * uncritically using a man like Trotsky as a historical source
 * constitutional nonsense like "Brüning ordered the President", "Hindenburg demanded his resignation" - no, Chancellor request of their head of state, they do not order. Presidents OTOH do not demand resignations, they simply dismiss.

I could go on. It is unsettling that this kind of diatribe could stand here for over a year. Str1977 (talk) 12:16, 28 February 2009 (UTC)

Wrong numbers
The "percentage of votes" numbers in the table are apparently slightly wrong, compared with the German WP article and its source (Stimmen und  Sitzverteilung). The numbers given here seem to be the "percentage of seats", which are similar (thanks to the proportional representation system used) but not quite identical. This should be taken care of. --Roentgenium111 (talk) 18:12, 20 May 2010 (UTC)

Communists were anti-Republican? Please explain.
Communists were anti-Republican? Please explain this. It is unclear what is definition of "anti-republican" here.--5.228.251.235 (talk) 07:52, 26 September 2014 (UTC)

Anti-Republican means they were against the Weimar Republic, seeking to overthrow the democratic system. Wikipedia does not list their party policies, so I can not verify whether they held this as an actual policy though. — Preceding unsigned comment added by 2001:8003:35A4:1900:E833:8F65:9B34:DC35 (talk) 05:19, 8 July 2017 (UTC)

External links modified
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Color coding for Results chart is off
I'm not sure how to fix this but I noticed that the color coding for the Results chart is off. In the key the Center Party is coded as black when the chart shows Center Party seats in yellow. And German National People's Party is coded as blue when the chart shows them in black. The same issue is apparent at November 1932 German federal election and March 1933 German federal election (maybe elsewhere too but these are the ones I checked). Does anyone know how to fix this? Many thanks, Generalrelative (talk) 23:29, 1 March 2021 (UTC)
 * As per the discussion here, it looks like Julio974fr is planning to sort out this issue by uploading a revised set of diagrams. Cheers, Number   5  7  23:33, 1 March 2021 (UTC)
 * Aha! That makes sense. Thanks for cluing me in. Generalrelative (talk) 23:35, 1 March 2021 (UTC)

I noticed that this still hasn't been done. Any updates? Thanks, Generalrelative (talk) 04:02, 8 May 2021 (UTC)
 * Yes, I apologise for procrastinating this, but I have some real-life stuff going on so I won't be able to post it until june. However, I've worked on a script to generate the parliament diagrams faster so everything should be ready to be uploaded at once as soon as the new color scheme is approved. Julio 9 7 4 ◆ (Talk-Contribs) 07:03, 8 May 2021 (UTC)
 * Understood! Thanks for the update, and for doing this work. Generalrelative (talk) 13:39, 8 May 2021 (UTC)

Change leaders
Since Hitler and Thälmann were not members of the Reichstag shouldn't they be removed and replaced by the heads of the parties in the Reichstag? That is usually the case, ,. I think Goering was the head of the Nazis in the Reichstag and Ernst Torgler for the communists. Thoughts? 3Kingdoms (talk) 03:56, 8 May 2021 (UTC)

title: Talk:July 1932 German federal election


text: Template:User br-3

title: Template:User br-3


text:
User:Chachka

hi

title: User:Chachka


text: User talk:212.17.50.107

title: User talk:212.17.50.107


text:
Igor Ansoff

Harry Igor Ansoff (Игорь Ансов; 12 December 1918 – 14 July 2002) was a Russian American applied mathematician and business manager. He is known as one of the fathers of strategic management.

Early life
Igor Ansoff was born in Vladivostok, Russia, on December 12, 1918. His father was an American-born Russian from Evansville, Indiana and his mother was a Russian from Moscow.

At the time of Igor's birth, Ansoff, Sr., was secretary to the American Consul General in Moscow, David R. Francis, and had just completed a cross-Siberian trip on behalf of the American Red Cross, examining living conditions in prisoner of war camps. This concluded with a trip to Japan in 1918, after which the family moved to Vladivostok. The United States had a large military and industrial presence in the Far East of Russia, with more than 3,000 troops on the ground under the command of General William S. Graves. During the six years that it took for the Bolshevik Revolution to make its way to Vladivostok, US embassies were slowly being shut down and their contents moved east. Many strategic records ended up in Tokyo and were destroyed in an earthquake and fire. Most of the remaining embassy documents made their way to Vladivostok.

The Ansoffs lived in Vladivostok until the US Embassy closed in 1924, whereupon they returned to Moscow, with Ansoff, Sr., now a Soviet citizen. They travelled the 9,000 km (5592.3 mi) on the Trans-Siberian Railway, crossing Siberia in the middle of winter in a place where temperatures of -35 Celsius (-31 Fahrenheit) are common. The cattle cars of the trans-siberian were heated by coal burning stoves and the occupants slept on straw laid out on timber bunks.

With his father's American origin and his mother's "capitalist" background (her father had owned a small samovar factory in the town of Tula some hundred miles south of Moscow), the Ansoffs were suspected members of the bourgeoisie, a group assumed to harbor "counterrevolutionary" hopes and tendencies.

Igor's life in Moscow engendered in him a distrust of any system (political or organizational) that claimed to be too perfect or too tidy. This spirit "expressed itself through my inability to join other 'systems' in which I lived, studied, and worked. It reinforced my drive to excel in order to force the system to recognize and reward me. And perversely, it also drove me to excel through making innovative contributions which challenged the systems cultures."

From 1932-1933, two major events occurred in Soviet society: first, a massive and destructive famine, followed by the commencement of the Great Purge. In 1933 there was also a thawing of relations between the USA and the Soviet Union, which led to the re-opening of the US embassy in Moscow under Ambassador William Bullit.

With the reestablishment of the American Embassy in Moscow, Ansoff, Sr., was able to get a clerical job and apply for restoration of his American citizenship.

The Ansoffs left Russia through Leningrad in September 1936 on a small freighter, which accommodated a dozen passengers. The ship took two weeks to cross the Atlantic Ocean, finally docking in New York.

A Russian Orthodox priest took Igor, who was then 17 years old, to the Stuyvesant High School in lower Manhattan, which was one of two premier high schools in New York City. With the aid of the priest, Igor's grades were translated into American equivalents which made it possible for him to graduate after only one year.

In 1937, Igor graduated with the highest honors at the end of the year, which guaranteed him a four-year scholarship with all expenses paid in the New York State University system. He was also offered a scholarship at the Stevens Institute of Technology in Hoboken, New Jersey, one of the best and most expensive engineering schools in the country. The scholarship was for one year and its continuation was contingent on performing in the upper 10% of his class. Contrary to his parents' advice, who were still financially struggling, he went to Stevens.

Five years after arriving in New York, Igor graduated at the top of his class from Stevens Institute of Technology. He had also reached the conclusion that he did not want to practice engineering.

Career
Seeking a broader perspective, he received a Master's degree in Modern Physics. World War II intervened, and in 1946 he went to Brown University to get a Doctoral degree in Applied Mathematics. His formal education was completed in 1948 when he was 30 years old. He was married the day after defending his dissertation to his wife Skip, and then traveled to Santa Monica, California, where he joined UCLA in the Senior Executive Program.

During World War II, he was a member of the U.S. Naval Reserve, and served as a Liaison with the Russian Navy and as an instructor in physics at the U.S. Naval Academy.

In California, he was offered a job in the Mathematics Department of the RAND Corporation. Moving laterally within RAND, Igor become a Project Manager in the large-scale project activity focused on making recommendations to the U.S. Air Force on technology and weapon systems acquisition. His second major study at RAND addressed the vulnerability of NATO Air Forces. The inclusion of "soft metrics" was treated with disdain by RAND and the airforce, and Igor learned his first lesson in organizational myopia, which was to become one of his primary concerns some 20 years later.

In 1957 Igor left RAND to join the Corporate Planning Department of the Lockheed Aircraft Corporation. At Lockheed he became Vice President of Planning and Director of Diversification. His experience at Lockheed focused his attention and trained him to deal with the problem of managing organizations in the face of environmental discontinuities which became the central focus of his attention during the following 30 years.

One morning while shaving Igor realized that he had no idea of what he wanted to do with the rest of his life. While on vacation at Cape Cod he developed a long-term plan to take early retirement from Lockheed and find a job in a school of management. Within a year he was approached by The Graduate School of Industrial Administration at the Carnegie Mellon University about joining the GSIA faculty. When he entered GSIA he was allowed a year free from teaching to enable him to finish his book, Corporate Strategy, which was published in 1965 and was an immediate success. He served as Professor of Industrial Administration in the Graduate School at Carnegie Mellon University from 1963 until 1968.

In 1969 he accepted a position as Founding Dean of the new Owen Graduate School of Management at Vanderbilt University in Nashville, Tennessee. He accepted the position under the condition that the school would specialize in educating change agents, a type of manager which was badly needed in industry and not produced by any U.S. school of business at that time. He worked as a Professor of Management there until 1973.

In 1983 he joined the U.S. International University (USIU, now Alliant International University) where he created the school's strategic management program.

Professionally, he is known worldwide for his research in three specific areas:

 * The concept of environmental turbulence;
 * The contingent strategic success paradigm, a concept that has been validated by numerous doctoral dissertations;
 * Real-time strategic management.

Marketing and MBA students are usually familiar with his Ansoff Matrix, a tool he created to plot generic strategies for growing a business, via existing or new products, in existing or new markets.

He has consulted with hundreds of multinational corporations including, Philips, General Electric, Gulf, IBM, Sterling Airlines and Westinghouse.

To honor his body of work, the prestigious Igor Ansoff Award was established in 1981 in the Netherlands. The award is given for research and management in the study of Strategic Planning and Management. The Japan Strategic Management Society has also established an annual award in his name and Vanderbilt University has established an Ansoff MBA scholarship. He was awarded five honorary doctorate degrees over the years, including the University of Bath.

Igor retired from USIU two years before his death as a distinguished professor emeritus.

Death
He died of complications from pneumonia in San Diego, California, on July 14, 2002. Survivors of his death included his wife; three sons, Rick, Chris, and Peter; and two grandchildren.

Works
90)
 * The New Corporate Strategy (1988)
 * Implanting Strategic Management (1984, second edition 19УЙс
 * Strategic Management (1979)
 * Acquisition Behavior of U.S. Manufacturing Firms, 1946-1965 (1971)
 * Business Strategy: Selected Readings (1969)
 * Corporate Strategy: An Analytic Approach to Business Policy for Growth and Expansion (1965)

title: Igor Ansoff


text:
Akutan Seaplane Base

Akutan Seaplane Base is a public use seaplane base located in Akutan, a city on Akutan Island in the Aleutians East Borough of the U.S. state of Alaska. Scheduled seaplane service was subsidized by the Essential Air Service program until late 2012 when PenAir retired their Grumman Goose amphibious aircraft and a new land-based airport on neighboring Akun Island was built. The new airport is known as Akutan Airport.

As per Federal Aviation Administration records, the airport had 1,346 passenger boardings (enplanements) in calendar year 2008, 1,200 enplanements in 2009, and 1,246 in 2010. It is included in the National Plan of Integrated Airport Systems for 2011–2015, which categorized it as a general aviation airport (the commercial service category requires at least 2,500 enplanements per year).

Other sources

 * Essential Air Service documents (Docket DOT-OST-2000-7068) from the U.S. Department of Transportation:
 * Order 2005-5-12 (May 19, 2005): re-selecting Peninsula Airways (PenAir) to provide essential air service at Akutan, Alaska, at an annual subsidy rate of $350,381, for the two-year period May 1, 2005, through April 30, 2007.
 * Order 2007-3-3 (March 9, 2007): re-selecting Peninsula Airways (PenAir) to provide subsidized essential air service at Akutan, Alaska, for the period from May 1, 2007, through April 30, 2009, at an annual subsidy rate of $556,155.
 * Order 2009-5-4 (May 5, 2009): selecting Peninsula Airways (PenAir) to provide essential air service at Akutan for an annual subsidy rate of $654,964, through April 30, 2011.
 * Order 2011-3-31 (March 25, 2011): re-selecting Peninsula Airways, Inc., (PenAir) to provide essential air service (EAS) at Akutan, Alaska, at annual subsidy rate of $710,157, from May 1, 2011, through April 30, 2013.
 * Notice of Termination of Service (August 6, 2012): Peninsula Airways, Inc. ("PenAir") hereby gives notice of its intent to discontinue all of its service to Akutan, Alaska, as soon as replacement service begins. PenAir respectfully requests that the Department promptly issue a request for proposals to enable PenAir to terminate service on September 1, 2012, or as soon thereafter as possible.

title: Akutan Seaplane Base


text:
Talk:Candida albicans

Recents edits emphasizing risk
The recent edits by 24.64.223.203 contain some strong, but unsourced claims. Someone who knows the subject might want to check this. Rl 08:49, 20 August 2005 (UTC)
 * I don't really know about it per se, but it sounds like the alternative medicine claptrap used to sell Candida treaments to people. As far as references, from what I've seen they're almost all from books published by treatment purveyors, with no scholarly journal articles.  I'll edit the 2nd paragraph to tone down POV and present it as the opinion of alternative medicine proponents. --KSevcik 16:04, 31 August 2005 (UTC)
 * Sounds like rubbish to me. Anyone using allopathy to describe mainstream medicine is asking for trouble. Also had at look at his/her talk page. Not exactly exemplary!!! If you could incorporate this somehow objectively then that would be excellent! -- postglock 05:26, 4 September 2005 (UTC)

Phenotypic switching
I'm a little confused as to whether Phenotypic switching "is" dimorphism or if it is similar to it. I am going to remove the line declaring that it IS dimorphism for now since the next paragraph starts with an apparent contradiction to this statement. If someone can give me any input in favor against this edit, i would appreciate it Dinosaurdarrell 05:45, 23 September 2005 (UTC)

 * I'm not sure what this means, but I found this article regarding Undycylenic acid and the 'switch' between the yeast form of C. Albicans and the 'hyphae' form: |Undecylenic acid inhibits morphogenesis of Candida albicans.

It has been taken care off. It should be more clear now. Garnhami (talk) 20:41, 4 May 2017 (UTC)

Sexual fungus?
hey! i am sorry, but c. albicans is not really a sexual fungus! it is rathter classified as an asexual fungus, as no meiosis has been described for this yeast. C. albicans has only a parasexual cycle, which has only been observed in vitro.i am also agree with you that c.albicans will show only parasexual cycl only.....

But i dont know how to update the page! Can you help me? —The preceding unsigned comment was added by 81.13.144.74 (talk) 18:06, 24 February 2007 (UTC).

 * Just go back to the article and click on edit this page, make the change, explain what you did in the edit summary line, and click Save page. —The preceding unsigned comment was added by Pyrospirit (talk • contribs) 18:09, 24 February 2007 (UTC).

Are antibiotics like penicillin and streptomycin going to be effective against candida albicans? why or why not? Discuss where and what structure the antibiotics act on.
 * My understanding is that antibiotics are only effective against bacteria, not fungi. In fact, I am given to understand that candida infections can be triggered or aggravated by the use of antibiotics, because the antibiotics can kill off bacteria that are important for keeping the candida in check.  —Bob Blaylock (talk) 12:58, 2 May 2010 (UTC)

Also what is its gram reaction? What about it's structure prevents its staining? —Preceding unsigned comment added by 67.187.154.189 (talk) 02:43, 3 February 2008 (UTC)
 * My understanding regarding this is that Gram staining is only really applicable to bacteria; it is used to divide most bacteria into two groups—Gram-positive and Gram-negative. Candida holds on quite well to the crystal violet, and so stains deep purple, when Gram-stained, but this really doesn't mean anything.  —Bob Blaylock (talk) 12:58, 2 May 2010 (UTC)

Statement clarification
Greatly appreciated would be the consideration by one of the article's contributors for the purpose of clarifying the statement
 * One of the classically studied strains that undergoes phenotypic switching is WO-1...

Is it meant
 * Of the classically studied strains, one that undergoes phenotypic switching is WO-1...?

Or is it meant
 * Of the classically studied strains that undergo phenotypic switching, one is WO-1...? (There are, in fact, other strains that undergo phenotypic switching. Yet, are they considered by the article's contributors to be classically studied?)

In the statement's rewording into the two different forms, one can recognize the distinction in meanings. It can be presumed that the first rewording represents the intended meaning of the statement; however, if what is meant is represented by the second statement, then the statement should be
 * One of the classically studied strains that undergo phenotypic switching is WO-1...

Nonetheless, may we rephrase the statement to one of the reworded examples in order to eliminate any confusion and explicitly state the intended meaning?

Thank you. Drphilharmonic (talk) 18:04, 20 January 2012 (UTC)

Diagnosis as disease?
Since this is a disease, would it not be appropriate to have a section regarding diagnosis and symptoms and such? I am trying to differentiate between Tinea Cruris and Candida Albicans. Thanks — Preceding unsigned comment added by 2001:5B0:21FF:1CF0:0:0:0:36 (talk) 03:26, 14 October 2013 (UTC)

"50-90%"
"C. albicans, together with C. tropicalis, C. parapsilosis and C. glabrata, is responsible for 50–90% of all cases of candidiasis in humans."

The singular verb 'is' implies that C. Albicans is the only subject of the sentence, and so:

"C. albicans is responsible for 50–90% of all cases of candidiasis in humans."

I don't think that's what's actually meant (although I could be wrong) and I would suggest that it be rephrased to:

"C. albicans, C. tropicalis, C. parapsilosis and C. glabrata, are together responsible for 50–90% of all cases of candidiasis in humans."

I'm going to make this change, but wanted to leave some additional explanation. 38.88.11.34 (talk) 17:08, 12 December 2017 (UTC)

External links modified (January 2018)
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Covid Connection
Perhaps a seperate section in light of Wikipietime (talk) 12:42, 24 October 2023 (UTC)

title: Talk:Candida albicans


text:
Joe Cinque

Joseph V. Cinque (1938) is an American felon and mobster. He was CEO and president of the American Academy of Hospitality Sciences (AAHS).

Names
Cinque has been known by the nicknames "the Preppy Don" and "Joey No Socks". In an April 1995 profile in New York magazine, Cinque was described as a "small-time mobster, a scam artist, and an art fence."

Career
In 1980, Cinque was shot three times and left for dead. While Cinque described the incident as a robbery, officials indicated it was likely an attempted contract killing by the mafia.

Stolen artworks
Cinque was arrested in 1989 on felony charges when stolen art was found in his apartment. After police used a battering ram to gain access to his home, they found 40 works of art, including pieces by Joan Miró and Frederic Remington. Among the artworks were three pieces that had been stolen from Manhattan galleries in April. Cinque had two signed Marc Chagall prints in his possession that were valued at over $20,000 each and were stolen from the Center Art Gallery. He also had a $9000 sculpture by Cecille Schatzberg that had been stolen from the Lever Brothers Gallery. Authorities investigated Cinque's alleged role as a fence for an art theft ring. He was initially charged with criminal possession of stolen property. After an informant relayed a conversation that Cinque had with Gambino boss John Gotti where Gotti said that he would "take care of the D.A." and the D.A.'s office was informed that Cinque had been dealing drugs out of his apartment, a felony charge was sought. Cinque pleaded guilty but did not serve any jail time. Cinque had previously been arrested for criminal possession of stolen property, insurance fraud, and grand larceny. In a memoir, New York plastic surgeon Richard Lawrence Dombroff related that Cinque said he had purchased stolen jewelry and stayed out of prison because he worked as an informant for the government.

Businesses
In partnership with Toby Beavers, Michael Ault, and Gary Pryor, Cinque ran the Surf Club and the Crane Club in New York. He said that he was Beavers' insurance policy against "trouble with the mob" at the Surf Club and the Zulu Lounge. Cinque helped launch the MercBar in 1993, representing the club before the State Liquor Authority.

Hospitality academy and Donald Trump
Cinque is President and CEO of the American Academy of Hospitality Sciences. The academy is run from Cinque's Central Park South apartment in Manhattan and has been cited for extensive connections to the friends and family of Donald Trump. He began the academy's Star Diamond Awards that he deemed the "Academy Awards" of hospitality. In 1989, he moved the organization from Chicago to New York and made its scope international.

Personal life
In 2006, Cinque was pulled over for driving under the influence. He refused a breathalyzer and failed a series of field sobriety tests. He was convicted but later appealed the ruling, with his physician testifying that Cinque had chronic lead poisoning due to "multiple lead pellets in his body." Cinque's former girlfriend, Despina Zahariades, also alleged domestic abuse, saying that he beat her and took her for $60,000.

Alongside Donald Trump Jr., Cinque served as a judge for the 2008 Miss Universe pageant.

At a 2016 New Year's Eve celebration, Cinque awarded president-elect Donald Trump with a “a One-of-a-Kind bronze Eagle award” from the AAHS, where Trump had previously been a trustee.

Cinque appeared alongside Trump at a New Year's Eve party on January 3, 2017.

title: Joe Cinque


text: Template:User br

title: Template:User br


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Han Fu (warlord)

Han Fu (died 191), courtesy name Wenjie, was a Chinese military general, politician, and warlord who lived during the late Eastern Han dynasty. He was the governor of Ji Province (present-day southern Hebei) when the Yellow Turban Rebellion broke out in 184.

Life
Han Fu served as a Master of Writing, then as Palace Assistant Imperial Clerk until 189, when Dong Zhuo named him the governor of Ji Province. During that year, Yuan Shao began plotting against Dong Zhuo, and Han Fu was unsure of whom to support. He sent some of his officers to keep Yuan Shao in check, but later in the year, he was persuaded by his Headquarters Officer Liu Zihui to ally with Yuan Shao.

In 191, when Yuan Shao's alliance broke apart, Han Fu attempted to control Yuan Shao by limiting his supplies. However, in response, Yuan Shao contacted Qu Yi, a rebellious officer under Han Fu, and urged Gongsun Zan to advance against Han Fu from the north while he brought his troops down the Yellow River. These military actions served their effect, and Han Fu was intimidated. His friend Guo Tu, Yuan Shao's nephew Gao Gan, and some of Han Fu's other officers convinced him that the only course of action was to yield the province to Yuan Shao, which Han Fu then did.

Under the rule of Yuan Shao, Han Fu's family was harassed, with one Zhu Han, seeking revenge on Han Fu for being mistreated by him in the past, came to Han Fu's home and broke his son's legs. Many of Han Fu's supporters left him or were killed by Yuan Shao after they tried to stop him from taking over the province, which led Han Fu to leave his home in Yingchuan for Zhang Miao, but he then believed that Zhang Miao was plotting against him, so he ended his own life.

In Romance of the Three Kingdoms
In the 14th-century historical novel Romance of the Three Kingdoms, Han Fu is one of the warlords who join the campaign against Dong Zhuo. After the coalition breaks up, he returns to Ji Province. Yuan Shao begins to look at the options to remove his dependency on the food shipment from Han Fu to maintain his troops. Following Pang Ji's advice, Yuan Shao pretends to be willing to divide Han Fu's territory with Gongsun Zan if he attacks Han Fu. Seeing the incoming invasion from Gongsun Zan, the frightened Han Fu surrenders his territory to Yuan Shao even though a number of officials beg him to reconsider. After Yuan Shao takes over Ji Province, he keeps the territory for himself and removes Han Fu from power. The disappointed Han Fu leaves everything, including his family and goes to seek refuge with Zhang Miao in Chenliu Commandery. However, when he hears that Yuan Shao's messenger has met Zhang Miao, he thinks that Yuan Shao wants Zhang Miao to kill him, so he commits suicide.

title: Han Fu (warlord)


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Secession (band)

Secession was a Scottish synth-pop band that was active between 1983 and 1987. The original incarnation comprised Peter Thomson (guitar, keyboards, synthesizer and vocals), Jack Ross (guitar, synthesizer and vocals), Jim Ross (bass guitar) and Carole L. Branston (keyboards and vocals). The band used a small pre-programmed drum machine.

Career
Before being named Secession, the band played at least one concert as the Gift, during which Jim Ross performed with one arm in a full plaster cast following an accident. After a performance at Buster Brown's nightclub in Edinburgh, the band were introduced to Hamish Brown, a local entrepreneur, who offered to manage them. This was followed by the addition of a fifth member, Alistair MacLeod (percussion and vocals), a friend of the original members who had provided the photograph for the sleeve of the band's independently released debut single "Betrayal".

Shortly after recording demo material at Palladium Studios in Edinburgh, Jack Ross, disillusioned with the direction the music was taking, left the band. MacLeod was asked to divide his contribution between percussion and synthesizer/sequencing, and the band continued in this form for a short period of time until Jim Ross left, cutting the line-up to a trio. This was the unit that produced the original demo of "Fire Island" (based around two sequences programmed on a Yamaha DX7) at Planet Studios in Edinburgh, which came to the attention of the Beggars Banquet Records A&R department.

After being signed by Beggars Banquet, the trio re-recorded "Fire Island" at REL Studios in Edinburgh, later remixed by the production team associated with Freeez and John Rocca. Before its release, MacLeod left the band to concentrate on photography, and was replaced by Charlie D. Kelly.

The final incarnation of Secession, associated with almost the entire released catalog, consisted of Thomson, Branston, Kelly, and J.L. Seenan. Their singer, Thomson, who penned "Touch (Part 3)", their most commercially successful song, died in 2001. Secession was mainly on two different record labels during their short career, Beggars Banquet and Siren Records. They released a number of singles starting in 1983 until they released A Dark Enchantment, their only studio album, in late 1987.

After Secession broke up, Kelly and Seenan joined the Vaselines with Charlie's brother, Eugene, and Frances McKee.

Discography
Studio album
 * 1987: A Dark Enchantment

Singles
 * 1983: "Betrayal"
 * 1984: "Fire Island"
 * 1984: "Touch (Part 3)"
 * 1986: "Michael"
 * 1987: "The Magician"
 * 1987: "Promise"
 * 1987: "Radioland"
 * 1987: "Sneakyville"

title: Secession (band)


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Jennifer Finch

Jennifer Finch (born August 5, 1966) is an American musician, designer, and photographer most notable for being the primary bass player of the punk rock band L7. Active in L7 from 1986 to 1996, Finch also wrote music and performed with her bands OtherStarPeople and The Shocker in the interim before joining the reunited L7 in 2014.

Early life
Finch was born August 5, 1966, and grew up in West Los Angeles. She was adopted in 1967 by Robert Edward Finch, an aeronautics engineer, and his wife Sandra Jacobson; they later divorced in 1974. Finch credits the support of her adoptive father, who was also an amateur photographer, as being instrumental to her creative development. Finch took an interest in photography at an early age and attended a summer art session at Otis Parsons in 1980.

Music
Finch began her musical career in the mid 1980s. She played bass in the San Francisco-based band Sugar Babydoll (or Sugar Babylon) from 1984 - 1986. The band featured Courtney Love, future founder of Hole, and future Babes in Toyland founder Kat Bjelland. This line-up produced a demo recording which remains unreleased. Finch subsequently played in the short-lived Hollywood band The Pandoras, formed by bassist Gwynne Kahn.

In 1986, Finch joined the Los Angeles-based punk rock group L7. In the documentary film L7: Pretend We’re Dead, bandmate Donita Sparks described Finch as "persistent" and stated that after Finch joined the band, her networking skills and stage energy continued to significantly boost the momentum building within the group. She remained with L7 throughout the band's most successful period in the early 1990s. Finch contributed to the albums L7 (1988) Smell the Magic(1990), Bricks Are Heavy (1992), and Hungry for Stink (1994). Finch was the sole songwriter during this period for several of L7's songs including "(Right On) Thru", "Everglade", "One More Thing", and "Shirley".

In 1994, Finch and her L7 bandmate Demetra "Dee" Plakas performed with Japanese musician Hide, also appearing in the original video for his song "Doubt".

In 1994, Finch was featured in a music video for Hole for their breakthrough album Live Through This, as the original bassist Kristen Pfaff had died of an over-dose in June of that year. In 1995, after the death of her father, Finch adopted the name "Precious" as an homage to him. Finch officially departed L7 in 1996. In the bands 2016 documentary L7: Pretend We’re Dead, Finch cites health and money issues, as well as grieving over the loss of her father and the band’s roadie and friend Umbar as reasons for her departure.

After departing from L7, Finch wrote music and sang for her band OtherStarPeople with Xander Smith. OtherStarPeople completed their debut record Diamonds In The Belly Of The Dog in 1998; the group were signed with A&M Records/Interscope and the album was released in August 1999. Joshua Clover of Spin magazine described the OtherStarPeople record as bringing "less weight and more strangeness than Finch's old crew - it's L.A.-slick and punky-dirty".

Finch was also involved with Betty Blowtorch, appearing in the 2003 documentary film Betty Blowtorch And Her Amazing True Life Adventures.

Finch founded the punk rock group The Shocker in Los Angeles in 2002. The band played dates on the Warped Tour in 2003 and 2005. The Shocker released Up Your Ass Tray as an EP in 2003, followed by a full-length album in 2006 on Go-Kart Records. Finch served as the sole songwriter and primary singer of The Shocker through 2006.

In January 2011, Finch co-founded new band Sex in Progress along with Evie Evil of Evil Beaver.

Finch produced a Ramones' tribute album Brats on the Beat for the St. Jude Children's Research Hospital. The album features "kid friendly" versions of Ramones' songs with guest vocals and music provided by various punk musicians. In 2014, L7 reformed with the primary line up of Finch with Suzi Gardner, Donita Sparks, and Dee Plakas. They toured extensively and released new singles in 2017 and 2018.

L7's latest full album Scatter the Rats was released on Blackheart Records on May 3, 2019, to generally favorable reviews. Finch wrote the song "Garbage Truck". The band resumed a six-week national tour starting on May 10, 2019.

Photography
At the age of 13, Finch began to take photos of her friends in Los Angeles on a camera given to her by her father. These pictures eventually documented the early punk scene that she became involved in before joining L7 in 1986. Her photography (1979–1995) was on display at an LA Weekly sponsored art show at Aidan Ryley Taylor Gallery in Hollywood, until November 18, 2006. The collection, called "14 and Shooting" features a number of notable figures, including photographs of The Red Hot Chili Peppers, Bad Religion, Red Kross, and The Cramps. John Albert of LA Weekly reflected that Finch's images often depict the musicians in more intimate moments as well as providing a generally dark perspective of youth in Southern California. Finch's photographs traveled to the Rock and Roll Hall of Fame for display in January 2007.

Television and film
Finch has acted in the 1984 film The Census Taker and in the 1994 John Waters film Serial Mom as part of the fictitious band the Camel Lips. Finch appeared as herself in the 2007 documentary Punk's Not Dead. Her music was featured in the 1999 film Office Space and on the popular TV series Degrassi: The Next Generation in 2008.

Finch appears in interviews and original footage throughout the documentary film L7: Pretend We're Dead, directed by Sarah Price and released in November 2016. The film was nominated for a VO5 NME Award for Best Music Film.

Personal life
In the early 1990s, Finch dated Nirvana's Dave Grohl and later Billy Corgan of The Smashing Pumpkins. She was married to actor, musician and race car driver Chris Pedersen from 2000 to 2007. Finch resides in Culver City, California.

L7

 * L7 (1988)
 * Smell the Magic (1990)
 * Bricks are Heavy (1992)
 * Hungry for Stink (1994)
 * Scatter the Rats (2019)

OtherStarPeople

 * Diamonds in The Belly of The Dog (1999)

The Shocker

 * Up Your Ass Tray EP (Oglio Records, 2003)
 * Up Your Ass Tray: The Full Length (Go Kart, 2006)

title: Jennifer Finch


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Joe Vine

Joseph Vine (15 May 1875 – 25 April 1946) was a professional cricketer, who played his first-class cricket for Sussex County Cricket Club and London County. Vine also played two Test matches for England and was named as one of the five Wisden Cricketers of the Year in 1906.

Vine's cricket career was not one of a rapid rise to fame. Although he played his first first-class match in 1896, it was not until 1900, after some tentative appearances in the three previous seasons, that he earned a regular place in the Sussex eleven. After that, however, he was indispensable. He was essentially a county cricketer, nearly all his work having been done for Sussex, but if, in addition to his batting and fielding, he had managed to retain his skill as a leg-break bowler it is quite likely that he would have played for England before he played his two Test matches in 1911/2. Already a dependable player, he made a great advance as a batsman in 1904 and during 1905 he was better than he had ever been before, scoring for Sussex in county matches alone over sixteen hundred runs. Good as his position is he would probably have been thought still more of if he had belonged to another county. A batsman would need to be great indeed to play on the same side as Ranjitsinhji and C.B. Fry, and not be overshadowed. His success as a batsman was largely gained in a series of first-wicket partnerships with Fry, and though he may at times carry caution a little too far and keep an undue check on his hitting powers, the result is nearly always so satisfactory that it would be sheer hypercriticism to find fault with him. As an outfield Vine has not the wonderful pick-up of Denton, but in every other respect was in the highest class, and in the course of a season at the beginning of the twentieth century, perhaps no one saved a larger number of runs.

In total Vine played 547 first-class matches, which included 421 consecutive appearances for Sussex. Soon after retiring from county cricket Joe Vine became coach at Brighton College, an office he held for many years. He died aged 70 in 1946.

title: Joe Vine


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Orlando Palmeiro

Orlando Palmeiro (born January 19, 1969) is an American former Major League Baseball outfielder. He attended high school at Miami Southridge High School and played college baseball at the University of Miami.

Palmeiro, a star high school player in Miami, Florida, went on to play baseball at the community college level at Miami-Dade Community College South and then briefly at the University of Miami under UM coach Ron Fraser before being drafted by the California Angels where he played for a number of years on various farm teams before reaching the majors.

Palmeiro spent his entire career as a backup outfielder, never having been a regular starter. He was the fourth outfielder of the 2002 World Series Champion Anaheim Angels team, batting .300 for the year. Palmeiro also made the last out of the 2005 World Series for the Houston Astros. His best season was arguably with the St. Louis Cardinals in 2003, when he batted .271 with 3 home runs and 33 RBI. He is the cousin of Rafael Palmeiro.

title: Orlando Palmeiro


text:
Talk:Ovilla Christian School

Re cleanup
I am the author of this article. I am working on the article and have made several attempts to better organize layout, reference where I obtained information, etc., in order to make the article conform to requirements. However, someone keeps coming in and telling me that the article "needs attention" and "needs cleanup" but doesn't tell me what's wrong with it, where I may have violated Wikipedia standards, etc. If I don't know what I'm doing wrong I can't know what to do to make it right. If whoever is making these comments would please respond here to tell me SPECIFICALLY what I need to do then I'll do my best to fix it. Otherwise I'll keep deleting the templates. (unsigned comment in Cleanup by ).

 * I didn't apply the original cleanup tag, but I support it. The problem is excessive detail; it's meant to be an encyclopedia article condensing in a terse fashion the important facts about the school, not a prospectus. For an idea of the preferred format, check out other entries in the High schools in Texas category. There are useful guidelines for school articles at WikiProject Schools. Tearlach 10:02, 20 August 2005 (UTC)

 * To Tearlach, thank you for the input. That is what I needed to know, where I was going off base.  After reading the article and your comments, I agree that a lot of the stuff I put in sounded too much like a prospectus and have taken out much of it.  However, I am trying to share the distinctives of a unique Christian school which is trying to carve a niche between the traditional college prep school (which, even if religiously affiliated, is often secular in its approach) and the traditional Christian school (which often serves as no more than an escape from the public school arena), so it might be longer than other school entries.  I am neither a student or a parent there, but someone who was involved in its initial creation and who simply wants to give OCS its little corner of Wikipedia.  Your comments are highly appreciated, and again I thank you for your input.

 * Thanks also; it's very much more readable now. As you say, a tag saying "cleanup" alone isn't exactly informative. I'll remove the entry from the Cleanup page. Tearlach 16:28, 22 August 2005 (UTC)

Southern Baptist Comments
Someone has modified this article to claim that one has to attend a Southern Baptist church or at least believe in SBC teachings to enroll at OCS. Although the sponsoring church is SBC, this has never been a requirement of the school, only that the student and at least one parent be active in a Bible-believing church. I have edited this article to the extent possible to remove the untrue comments. Quidam65 (talk) 03:17, 24 November 2008 (UTC)

title: Talk:Ovilla Christian School


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Satish Dhawan Space Centre

Satish Dhawan Space Centre – SDSC (formerly Sriharikota Range – SHAR), is the primary spaceport of the Indian Space Research Organisation (ISRO), located in Sriharikota, Andhra Pradesh.

The Centre currently has two functioning launch pads used for launching sounding rockets, polar satellites and geosynchronous satellites. India's Lunar exploration probes Chandrayaan-1, Chandrayaan-2, Chandrayaan-3, Mars Orbiter Mission, solar research mission Aditya-L1 and space observatory XPoSat were also launched in SDSC.

Originally called Sriharikota Range (SHAR), the centre was renamed on 5 September 2002 as a tribute to ISRO's former chairman Satish Dhawan with retaining its original acronym and is referred as SDSC-SHAR.

History
Sriharikota island was chosen in 1969 for a satellite launching station. It is located 80 km (50 mi) north of Chennai. The centre became operational on 9 October 1971 when an RH-125 sounding rocket was launched. The first attempted launch of an orbital satellite, Rohini 1A aboard a Satellite Launch Vehicle, took place on 10 August 1979, but due to a failure in thrust vectoring of the rocket's second stage, the satellite's orbit decayed on 19 August 1979. SHAR was named as 'Satish Dhawan Space Centre SHAR' (SDSC), on 5 September 2002, in memory of Satish Dhawan, former chairman of the ISRO.

The SHAR facility now consists of two launch pads, with the second built in 2005. The second launch pad was used for launches beginning in 2005 and is a universal launch pad, accommodating all of the launch vehicles used by ISRO. The two launch pads will allow multiple launches in a single year, which was not possible earlier. India's lunar orbiter Chandrayaan-1 launched from the centre at 6:22 AM IST on 22 October 2008. India's first Mars orbiter Mangalyaan was launched from the centre on 5 November 2013, which was successfully placed into Mars orbit on 24 September 2014.

Initially under Indian Human Spaceflight Programme existing launch facilities will be augmented to meet the target of launching a crewed spacecraft called Gaganyaan.

SDSC's current director is Arumugam Rajarajan. He took over from S. Pandian in July 2019.

Location
Satish Dhawan Space Centre (SDSC-SHAR) is located in Sriharikota, a spindle-shaped barrier island on the east coast of Andhra Pradesh. Features like a good launch azimuth corridor for various missions, nearness to the equator (benefiting eastward launches), and large uninhabited area for a safety zone make it an ideal spaceport.

SHAR covers a total area of about 145 km2 with a coastal length of 27 km. Prior to its acquisition for ISRO by the Government of India, it was a firewood plantation of Eucalyptus and Casuarina trees. This island is affected by both south-westerly and north-easterly monsoons, but heavy rains come only in October and November. Thus many clear days are available for out-door static tests and launchings.

SHAR is linked to Sullurupeta by a road across Pulicat Lake. Sullurupeta has connectivity with other parts of India by Indian Railways and is on a National Highway 16 (India) that connects it to Chennai and Kolkata.

Launch history
Originally known as the Sriharikota Range (SHAR) and later named after Satish Dhawan. It is India's primary orbital launch site to this day. First flight-test of 'Rohini-125', a small sounding rocket which took place on 9 October 1971 was the first rocket launch from SHAR. Since then technical, logistic and administrative infrastructure have been enhanced. Together with the northerly Balasore Rocket Launching Station, the facilities are operated under the ISRO Range Complex (IREX) headquartered at SHAR.

Satellite Launch Vehicle (SLV)-RETIRED
The range became operational when three Rohini 125 sounding rockets were launched on 9 and 10 October 1971. Previously, India used Thumba Equatorial Rocket Launching Station (TERLS), at Thiruvananthapuram, on the south-western coast of India, to launch sounding rockets. The first test launch of the complete SLV-3 rocket occurred in August 1979 but it was only partially successful following a malfunction in the second-stage guidance system. SHAR facilities worked satisfactorily during the SLV-3 preparation and launch. On 18 July 1980 the SLV-3 successfully launched India's third satellite. Out of the four SLV launches from SHAR, two were successful.

Augmented Satellite Launch Vehicle (ASLV)-RETIRED
The ASLV orbital launcher was integrated vertically, beginning with motor and subassembly preparations in the Vehicle Integration Building (VIB) and completed on the pad within the 40 m tall Mobile Service Structure. The first ASLV launch from SHAR took place in 1987 and resulted in a failure. Eventually, out the four ASLV launches from 1987 to 1994, only one was successful.

Polar Satellite Launch Vehicle (PSLV)
The Polar Satellite Launch Vehicle launch complex was commissioned during 1990. It has a 3,450 tonne, 76.5 m high Mobile Service Tower (MST) which provides the SP-3 payload clean room. The solid propellant motors for the PSLV are processed by SHAR, which also carries out launch operations. The first launch of the PSLV took place on 20 September 1993.

Geosynchronous Satellite Launch Vehicle (GSLV)
The first launch of India's Geosynchronous Satellite Launch Vehicle (GSLV) was successfully completed on 18 April 2001. GSLV, with its own cryogenic upper stage, has enabled the launch of communications satellites of the class up to 2 tonnes. The next variant of GSLV is GSLV Mk III with its own cryogenic high-thrust engine and stage capable of launching communications satellites of the 4-ton class.

Facilities
The SDSC has two operational orbital launch pads. SHAR is ISRO's satellite launching base and additionally provides launch facilities for the full range of Rohini sounding rockets. The Vehicle Assembly, Static Test and Evaluation Complex (VAST, previously STEX) and the Solid Propellant Space Booster Plant (SPROB) are located at SHAR for casting and testing solid motors. The site also has a Telemetry, Tracking, Range Instrumentation, & Control centre for Range Operation (RO), Liquid Propellant Storage and Servicing Facilities (LSSF), the Management Service Group and Sriharikota Common Facilities. The PSLV launch complex was commissioned in 1990. It has a 3,450 tonne, 76.5 m high Mobile Service Tower (MST) which provides the SP-3 payload clean room.

The Solid Propellant Space Booster Plant (SPROB) processes large size propellant grains for the satellite launch vehicles. The Vehicle Assembly & Launching Facility (VALF), Solid Motor Preparation & Environmental Testing Facility (SMP&ETF) tests and qualifies different types of solid motor for launch vehicles. The control centre at SHAR houses computers and data processing, closed circuit television, real-time tracking systems and meteorological observation equipment. It is linked to eight radars located at Sriharikota and the five stations of ISRO's Telemetry, Tracking & Command Network (ISTRAC).

The propellant production plant produces composite solid propellant for rocket motors of ISRO using ammonium perchlorate (oxidiser), fine aluminium powder (fuel) and hydroxyl terminated polybutadiene (binder). The solid motors processed here include those for the first-stage booster motor of the Polar Satellite Launch Vehicle (PSLV) — a five segmented motor of 2.8 m diameter and 22 m length, weighing 160 t with a thrust level of 450 t.

Rocket motors and their subsystems have to be rigorously tested and evaluated on ground before they are declared flight worthy. The facilities at SDSC are used for testing solid rocket motors, both at ambient conditions and simulated high altitude conditions. Besides these, there are facilities for conducting vibration, shock, constant acceleration and thermal/humidity tests.

SDSC has infrastructure for launching satellites into low Earth orbit, polar orbit and geo-stationary transfer orbit. The launch complexes provide support for vehicle assembly, fueling, checkout and launch operations. The centre also has facilities for launching sounding rockets for atmospheric studies. The mobile service tower, launch pad, preparation facilities for different launch stages & spacecraft, storage, transfer and servicing facilities for liquid propellants, etc., are the principal parts of the PSLV/GSLV launch complex.

For supporting the GSLV Mark III, additional facilities were set up at SDSC. A new plant (SPP) is set up to process heavier class boosters with 200 tonnes of Solid propellant. The static test complex is being augmented for qualifying the S-200 booster. Other new facilities include a Solid Stage Assembly Building, Satellite Preparation and Filling Facility and Hardware Storage buildings. The existing liquid propellant and cryogenic propellant storage and filling systems, Propellant Servicing Facilities will also be augmented. The range instrumentation system will be enhanced further.

SDSC also has a S band Doppler weather radar that contributes to India Meteorological Department radar network and serves as a stand-in for Doppler weather radar in Chennai.

ISRO opened a viewing gallery at the Satish Dhawan Space Centre in March 2019. The gallery faces the two launchpads and can accommodate 5,000 people giving the general public the opportunity to witness rocket launches. The launch of PSLV-C45 on 1 April 2019 was the first launch that allowed spectators into the gallery.

SLV-3 Launch Pad
The SLV3 Launch Pad, located at 13.6664°N, 80.2272°W, began operation in 1979 and was decommissioned in 1994. It was used by two launch vehicles of the ISRO: the Satellite Launch Vehicle (SLV) and the Augmented Satellite Launch Vehicle (ASLV). Initially it was built for launching SLV-3s but was later also used as an ASLV launch complex. The first launch from this pad occurred on 10 August 1979, and was that of the first experimental flight of SLV-3 carrying the Rohini Technology Payload satellite. The last flight was of ASLV on 4 May 1994 carrying SROSS-C2.

First Launch Pad
The First Launch Pad, located at 13.7333°N, 80.2347°W, began operation in 1993. It is currently used to launch the Polar Satellite Launch Vehicle, and formerly used by the Geosynchronous Satellite Launch Vehicle. It is one of two operational orbital launch pads at the site, the other being the Second Launch Pad, which opened in 2005. The first launch from this pad occurred on 20 September 1993, and was the maiden flight of the Polar Satellite Launch Vehicle carrying the IRS-1E satellite. The maiden flight of the Small Satellite Launch Vehicle also occurred from this pad on 7 August 2022.

The First Launch Pad is undergoing major expansion with PIF (PSLV Integration Facilities) project worth inr 4750000000. Once complete, the first launch pad is expected to cater to around 15 launches per year.

Second Launch Pad
The Second Launch Pad, located at 13.7199°N, 80.2305°W, was designed, supplied, erected and commissioned by MECON Limited, a Government of Indian Enterprise, located at Ranchi (Jharkhand, India) during the period March 1999 to December 2003. It cost about inr 4000000000 at that time.

The second launch pad with associated facilities was built in 2005 and became operational on 5 May with the launching of PSLV-C6. MECON's sub-contractors for this project including Inox India, HEC, Tata Growth, Goderej Boyce, Simplex, Nagarjuna Construction, Steelage, etc. The other Launch Pad being the First Launch Pad. It is used by Polar Satellite Launch Vehicle, Geosynchronous Satellite Launch Vehicle, LVM3 and is intended for India's first crewed space mission.

The first launch from the pad occurred on 5 May 2005, and was of a Polar Satellite Launch Vehicle carrying the CARTOSAT-1 and HAMSAT satellites. India's 1st Moon Mission, Chandrayaan-1 was launched from this launch pad on 22 October 2008. Its follow-up missions were also launched from this launch pad, where Chandrayaan-2 was launched on 22 July 2019 and Chandrayaan-3 was launched on 14 July 2023.

In November 2019, ISRO released tenders for augmentation of the SLP for the Gaganyaan project. Systems such as a crew ingress and egress system, access platform, recovery setup for emergencies during the flight’s ascent phase, module preparation facility for assembly and testing along with an helipad are built at a cost of about ₹2000 crore. All the facilities will be connected an upcoming Gaganyaan control facility, which will monitor and communicate with the Astronauts during the Spaceflight.

ALP-01 Private Launch Pad
AgniKul Cosmos inaugurated first private launchpad and mission control centre in India at the Satish Dhawan Space Centre (SDSC) in Sriharikota, Andhra Pradesh on 28 November 2022. The launchpad and the mission control centre are 4 km apart from one another. At present, the launchpad can handle liquid stage launch vehicle. The pad has received the name Dhanush (Devanagari: धनुष) and referred as ALP-01. All the critical systems performing functions at Agnikul launchpad (ALP) and the Agnikul mission control center (AMCC) have high degree of redundancy to ensure 100% operationality although none of these systems were tested so far. ISRO's range operations team will monitor key flight safety parameters during launches from ALP while AMCC can share critical data with ISRO's Mission Control Center. Both the facilities have support of ISRO and Indian National Space Promotion and Authorisation Centre (IN-SPACe).

Third Launch Pad
A Third Launch Pad was proposed in 2012 with estimated cost to be inr 5000000000. This launch pad is intended to be used for future Indian rockets as well as the older ones like PSLV, GSLV and LVM3. The launch pad will be used for the India's future human space missions. Main reasons behind establishing this launch pad were that it will provide redundancy to existing launch pads as well as increase the frequency of orbital launches from SDSC-SHAR with a new larger assembly facility called Second Vehicle Assembly Building (SVAB) serving it.

But due to lack of budgetary resources and delays in LVM3 being operational and subsequent conceptualization of next generation launch vehicles that Third Launch Pad was supposed to serve, the project has not been approved. Second Vehicle Assembly Building (SVAB) facility was established in 2019 and currently serves Second Launch Pad.

In 2018, after the announcement of the Gaganyaan project under the Indian Human Spaceflight Programme, it was thought a new launch pad might be needed. However, it was decided to augment the Second Launch Pad for crewed flights instead. Instead it would be developed for use by the upcoming NGLV rocket.

title: Satish Dhawan Space Centre


text: User talk:69.237.90.121

title: User talk:69.237.90.121