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Edwardsville Intelligencer

The Edwardsville Intelligencer is an American daily newspaper in Illinois based in Edwardsville. The paper is circulated in Edwardsville, Glen Carbon, and nearby rural areas.

History
The newspaper was founded as the Madison Intelligencer in 1862; it was a Democratic newspaper. It was published by James R. Brown and Henry C. Barnsback. In 1868, it became the Edwardsville Intelligencer.

A building for the newspaper office was constructed for Charles Boeschenstein near the courthouse at 108 St. Louis Street. In 1923, the paper moved to 117 N Second Street.

On November 14, 1937, the Intelligencer published a special 75th Anniversary edition, which included history of Edwardsville and Madison County. In 1962, the Intelligencer joined the Granite City Press-Record and the Alton Telegraph to publish a sesquicentennial history of Madison County.

In 1960, longtime owner and publisher Gilbert Giese sold it to the owner of the Holyoke Transcript-Telegram. In 1964, the newspaper was purchased by Decatur, Illinois-based Lindsay-Schaub Newspapers. It was acquired by the Hearst Corporation in 1979.

In 2019, the Intelligencer switched from route delivery to US Postal Service delivery. On May 29, 2019, the newspaper office moved to its current headquarters on 116 North Main Street. In 2020, the building on Second Street became a venue called The Ink House with newspaper-themed rooms such as "The Press Room" and "Off the Record".

title: Edwardsville Intelligencer


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Smashed: Story of a Drunken Girlhood

Smashed: Story of a Drunken Girlhood is a memoir written in 2005 by American writer Koren Zailckas and published by Viking Press. The book has spent more than 10 weeks on the New York Times Best Seller list.

About
Smashed chronicles Zailckas' decade-long struggle with alcohol abuse, beginning at fourteen, in an effort to explain the binge drinking phenomenon that plagues America's youth.

Around the time she quit drinking, Zailckas became preoccupied with an old memory, which involved a night that she had her stomach pumped when she was 16. According to Zailckas, she hadn't thought about that night in a number of years, but she suddenly could not get it out of her head. Eventually, she sat down and wrote about it. The piece later became a chapter in her book.

Around the same time, Zailckas was hearing a lot in the news about "girls of her generation" and how they were drinking younger and more than all the generations of women who'd gone before them. The Harvard School of Public Health reported, between 1993 and 2001, there was a threefold increase in the number of women who reported being drunk on ten or more occasions in the previous month. Time (magazine) ran a cover story about female binge drinkers. Zailckas didn't agree with what the psychologists and the sociologists, the clinicians and the statisticians had to say, which was: "girls today are drinking more because they're just so damn liberated, because they're bursting with confidence and girl power, because they believe they can match boys everywhere, including the bar." In her own experience, the author says, she and her female friends drank largely because it was an expression of their unhappiness and lack of confidence. It occurred to Zailckas, then 23, that she could offer a younger perspective. http://yareviews.wikispaces.com/file/view/smashed.jpg/59081286/smashed.jpg

Movie
On July 26, 2006, Zailckas announced on MySpace that film rights to Smashed were sold to Dan Halstead, the producer of Garden State. She wrote the screenplay with her sister.

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

title: Smashed: Story of a Drunken Girlhood


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I'm the Leader of the Gang (I Am)

"I'm the Leader of the Gang (I Am)" is a song by English glam rock singer Gary Glitter, written by Glitter with Mike Leander and produced by Mike Leander. It was Glitter's first number-one single on the UK Singles Chart, spending four weeks at the top of the chart in July 1973.

Description
The song "I'm the Leader of the Gang (I Am)" was a top hit for Gary Glitter; it reached number-one in the UK Singles Chart in July and August 1973. It was written by Gary Glitter and Mike Leander and produced by Mike Leander. As a result of its popularity, Glitter's nickname became "The Leader", and his 1991 autobiography was titled Leader.

A glam rock anthem typical of Glitter's early 1970s output, the melody is based on a simple mid-tempo rhythm (the so-called "Glitter Stomp") and loud chanted backing vocals such as "Hey!" and "Come on, come on!". Glitter had a backing band, The Glitter Band; however, with the exception of saxophonists Harvey Ellison and John Rossall, they did not participate in his recording sessions, and precisely who else, if anyone, helped Glitter and producer/co-writer Mike Leander in the studio remains unknown. Glitter said in interviews that he and Leander preferred to play everything themselves, since it allowed them to record the songs as they were being written.

The song became a concert favourite with the crowd chanting the "Come on, come on!" refrain before Glitter took to the stage. Although Glitter's version failed to chart in the U.S., the following year a version by Brownsville Station made the Top 30 on the Cashbox Top 100, No. 48 on the Billboard Hot 100, and No. 38 in Canada.

In 1986, still a popular live act, Glitter re-recorded the song with heavy metal band Girlschool. This version missed the UK charts but reached No.8 on the indie chart Show Heavy Metal charts.

In 1997, girl group Spice Girls covered the song for their musical comedy film Spice World. Glitter originally made a cameo appearance, but his scene was deleted after his child pornography possession arrest. A bootleg of the scene surfaced some time later. The Full Monty, another 1997 British comedy, used the song as well.

Track listing

 * 1) "I'm the Leader of the Gang (I Am)" – 3:25
 * 2) "Just Fancy That" – 2:36

Peter and the Test Tube Babies cover
In 1982, the Peacehaven's punk band Peter and the Test Tube Babies covered the song on their album Pissed and Proud.

Green Jellÿ cover
In 1993, comedy rock band Green Jellÿ released "I'm the Leader of the Gang (I Am)", with professional wrestler Hulk Hogan singing lead vocals. The release scored the band a second Top 40 hit in the United Kingdom, reaching no. 25 on the UK Singles Chart.

title: I'm the Leader of the Gang (I Am)


text: User talk:83.116.108.80

title: User talk:83.116.108.80


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Fyodor Gladkov

Fyodor Vasilyevich Gladkov (Фёдор Васильевич Гладков) June 21 1883 – December 20, 1958) was a Soviet and Russian socialist realist writer, best known for his 1925 novel Cement. Gladkov joined a Marxist group in 1904, and in 1905 went to Tiflis (now Tbilisi) and was arrested there for revolutionary activities. He was sentenced to three years' exile. He then moved to Novorossiysk. Among other positions, he served as the editor of the newspaper Krasnoye Chernomorye, secretary of the journal Novy Mir, special correspondent for Izvestia, and director of the Maxim Gorky Literature Institute in Moscow from 1945 to 1948. He received the Stalin Prize (in 1949) for his literary accomplishments, and is considered a classic writer of Soviet Socialist Realist literature.

Teacher, exile and revolutionary
Gladkov was born in 1883 in Bolshaya Chernavka, Saratov Governorate (present-day Penza Oblast) to a family of Old Believers. In 1904, Gladkov began propaganda work for the Social Revolutionary Party in Chita, Irkutsk, joining the teachers' institute of Tiflis in the following year. In 1906 he began propaganda work for the Russian Social Democratic Labour Party, and was exiled that November for four years to Manzurka village in Irkutsk province. After completing his exile, Gladkov returned to Novorossiisk and to the Kuban where he was appointed the head of a primary school in Pavlovskaya.

In the spring of 1918 he returned to Novorossiisk to reorganise schools after the revolution in October 1917, though was forced into hiding when the Whites (pro-monarchist forces) captured the village in August of that year. In 1920, by which time the Whites had been driven out, Gladkov was appointed as the head of education in the town. He would also serve in the Red Army, before being made editor of the newspaper Krasnoye chernomorye. In 1921 he moved to Moscow where he was appointed as the head of a factory school, then secretary of the journal Novy mir (New World). Gladkov was a member of The Smithy writers group, which was engaged in polemics with the Russian Association of Proletarian Writers (RAPP). While a proponent of portraying the revolution in literature, he was anxious about the tone in which groups such as RAPP and MAPP (Moscow Association of Proletarian Writers) conducted their discussions, and the "working over" that non-RAPP writers were given in particular journals. In 1921 "as an intellectual and a Menshevik" he was expelled from the Communist Party but was then reinstated after the publication of Cement.

In 1941 he became a special correspondent for the newspaper Izvestia and Pravda, reporting from Sverdlovsk, specialising in war-time industrial topics. After the war, he was director of the Gorky Literary Institute in Moscow. He died in Moscow in 1958 and was buried at the Novodevichy Cemetery.

Cement (1925)

Gladkov's first major novel after the revolution, titled Cement, became a literary standard for socialist realist writing during the 1930s; in various speeches to the Writers' Congress in the USSR, Gladkov's contemporaries upheld Cement as one of the key exemplars that authors should emulate in Soviet literature.

Throughout his lifetime, Gladkov rewrote passages of Cement both to suit contemporary political concerns and to fit with the Socialist Realist aesthetic established in 1932.

Published works

 * Towards the Light (1900)
 * After Work (1900)
 * Maksuitka (1901)
 * Before Hard Labour (1903)
 * They Went Off To War (1904)
 * The Inspection (1905)
 * Three In One Hut (1905)
 * The Outcasts (1908)
 * The Abyss (aka The Only Son) (1917)
 * Spring Shoots (1921)
 * The Fiery Steed (1922)
 * Cement (1925)
 * The Old Secret Prison (1926)
 * The Cephalopodous Man (1927)
 * Energy (aka Power) (1932–1938)
 * The Birch Grove (1941)
 * The Scorched Soul (1943)
 * The Vow (1944)
 * Story of My Childhood (1949)
 * The Outlaws (1950)
 * Evil Days (1954)
 * Restless Youth (unfinished)

English translations

 * Restless Youth, Foreign Languages Publishing House, 1959.
 * Cement, Northwestern University Press, 1994.

title: Fyodor Gladkov


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File:Playbill for Jane Shore, Miraculous Mill, and Chrononhotonthologos.jpg

A playbill from the Wharf Theatre in Nova Scotia, 1818, for a presentation of Jane Shore, among others.


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Khalaj language

Khalaj is a Turkic language spoken in Iran. Although it contains many old Turkic elements, it has become widely Persianized. Khalaj has about 150 words of uncertain origin.

Surveys have found that most young Khalaj parents do not pass the language on to their children; only 5% of families teach their children the language.

Khalaj language is a descendant of an old Turkic language called Arghu. The 11th-century Turkic lexicographer Mahmud al-Kashgari was the first person to give written examples of the Khalaj language, which are mostly interchangeable with modern Khalaj.

Gerhard Doerfer, who rediscovered Khalaj, demonstrated that it was an independent branch from Common Turkic.

Classification
The Turkic languages are a language family of at least 35 documented languages spoken by the Turkic peoples.

While initially thought to be closely related to Azerbaijani, linguistic studies, particularly those done by Gerhard Doerfer, led to the reclassification of Khalaj as a distinct non-Oghuz branch of the Turkic language family. Evidence for the reassignment includes the preservation of the vowel length contrasts found in Proto-Turkic (PT), word-initial *h, and the lack of the sound change *d → y characteristic of Oghuz languages.

The conservative character of Khalaj can be seen by comparing the same words across different Turkic varieties. For example, in Khalaj, the word for "foot" is hadaq, while the cognate word in nearby Oghuz languages is ayaq (compare Turkish ayak). Because of the preservation of these archaic features, some scholars have speculated that the Khalaj people are the descendants of the Arghu Turks.

Ethnologue and ISO formerly listed a Northwestern Iranian language named "Khalaj" with the same population figure as the Turkic language. The Khalaj speak their Turkic language and Persian, and the supposed Iranian language of the Khalaj is spurious.

Geographical distribution
Khalaj is spoken mainly in Markazi Province in Iran distributed throughout a number of villages from Qom to Ashtian and Tafresh. Doerfer cites the number of speakers as approximately 17,000 in 1968, and 20,000 in 1978. Ethnologue reports that the population of speakers grew to 42,107 by 2000.

Dialects
The main dialects of Khalaj are Northern and Southern. Within the dialect groupings, individual villages and groupings of speakers have distinct speech patterns.

The linguistic difference between the most distant dialects is not smaller (or even bigger) than Kazan Tatar and Bashkir or between Rumelian Turkish and Azerbaijani.

Vowels
Doerfer claims that Khalaj retains three vowel lengths postulated for Proto-Turkic: long (e.g. qán 'blood'), half-long bàş (e.g.  'head'), and short (e.g.  hat  'horse'). However, Alexis Manaster Ramer challenges both the interpretation that Khalaj features three vowel lengths and that Proto-Turkic had the same three-way contrast. Some vowels of Proto-Turkic are realized as falling diphthongs, as in ('arm').

Nouns
Nouns in Khalaj might receive a plural marker or possessive marker. Cases in Khalaj include genitive, accusative, dative, locative, ablative, instrumental, and equative.

Forms of case suffixes change based on vowel harmony and the consonants they follow. Case endings also interact with possessive suffixes. A table of basic case endings is provided below:

The equative can also be expressed by the words täkin, täki and other forms.

Verbs
Verbs in Khalaj are inflected for voice, tense, aspect, and negation. Verbs consist of long strings of morphemes in the following array:

 * Stem + Voice + Negation + Tense/Aspect + Agreement

Due to Persian influence, Khalaj has, like Qashqai, lost converb constructions of the form -Ib/-Ip.

Syntax
Khalaj employs subject–object–verb word order. Adjectives precede nouns.

Vocabulary
The core of Khalaj vocabulary is Turkic, but many words have been borrowed from Persian. Words from neighboring Turkic languages (namely Azerbaijani), have also made their way into Khalaj.

For example, Khalaj numbers are Turkic in form, but some speakers replace the forms for "80" and "90" with Persian terms.

Examples
Excerpt from Doerfer & Tezcan 1994, transliterated by Doerfer:

A piece of poetry in Khalaj (transliterated into Turkish script):

Vaşqan baluqum xeleç teq var tilim Canumda yiter baluqum o tilim Til o baluqumu dunyalan teyişmem Vaşqan turpaqum o xeleç teq tilim

title: Khalaj language


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Wikipedia:Cleanup Taskforce/Reddy

Reddy
The Reddy article needs to be cleaned up. We should organize this article in a better way. Vyzasatya 17:57, 22 August 2005 (UTC)

 * Added to User:Vyzasatya/Desk Vyzasatya 17:57, 22 August 2005 (UTC)

--Vyzasatya 22:51, 22 August 2005 (UTC)
 * Lot of redundant information in famous Reddys. C.Narayana Reddy, Raj reddy vemana pages already exists. Hence moved that content to respective Pages. Made a new page for Anji Reddy

 * Reddy Kings and the ruling dynasty need to be dealt in a seperate article. Moved the Dynastic details of the kings to new page (Reddy Dynasty page) --Vyzasatya 22:51, 22 August 2005 (UTC)

 * Cleaned up 'Role in Politics' section and put the politicians names in Notable Reddy's section--Vyzasatya 07:59, 1 September 2005 (UTC)

 * Cleaned up 'Reddy name confusion' section. Added two more new sections 'Reddy as a title' and 'Reddy subcastes'. Believe that it is in better shape to go out of cleanup desk --Vyzasatya 16:38, 5 October 2005 (UTC)

title: Wikipedia:Cleanup Taskforce/Reddy


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User:Charles Matthews/Ward

Hans Aarslef - W. M. Alexander - Angelus Silesius - Isolde Andrews - Lise Appignanese - Hans Urs von Balthasar - Heinrich Barth - Richard Bernasconi - D. Boothroyd - Borinski - Henri Bouillard - Malcolm Bradbury - Geoffrey W. Bromley - R. L. Brown - Michael J. Buckley - Sanford Budick - Eberhard Busch - David Burrell - John Caputo - C. Barry Chabot - Charmier - Henry Chavannes - Robert T. Clark - J. Alberto Coffa - Simon Critchley - John Dominic Crossan - John Cumming - William Dean - V. A. Demant - Vincent Descombes - R. Detweiler - Thomas Dutoit - Ferdinand Ebner - Hans Ehrenberg - Erlanger group - F. Fedier - Simon Fischer - Fludd - David Ford - Ken Frieden - Robert Funk - Rodolphe Gasché - Gaunilo - Terence J. German - Robert Gibbs - Alexander Gillies - Nahum Glatzer - Alexander Gode - Gogarten - Gerald Graff - Joseph F. Graham - Garrett Green - Susan Handelman - Caroline Harrison - James G. Hart - Kevin Hart - Irene E. Harvey - Ernstpeter Haurer - Peter Heath - Brian Hebblethwaite - Michael Heim - Heinze - Henkel - Heinrich Heppe - Wilhelm Herrmann - Ernst Hoffmann - Ingeborg Hoesterey - George Hunsinger - Edmund Jephcott - William Stacy Johnston - Peggy Kamuf - Fritz Kaufmann - W. Kaufmann - Richard Kearney - A. Kenny - Fergus Kerr - Ludwig Klages - David Klemm - W. Koepke - Rosalind Krauss - Walter Kreck - N. Kretzman - Nicholas Lash - John Llewelyn - George Lindbeck - Gottlob Lindner - Andrew Louth - Walter Lowe - Karl Löwith - Walter Lowrie - John Macquarrie - Malévitch - John Maraldo - Jean-Luc Marion - R. A. Markus - Bruce Marshall - Bruce McCormack - James McFarland - A. E. McGrath - John McIntyre - Paul Mendes-Flohr - Diane P. Michelfelder - Daniel L. Migliore - A. V. Miller - R. Miller - Raoul Mortley - Michael Morton - Lewis Mudge - Kurt Mueller-Vollmer - S. Mulhall - Josef Nadler - William Nicholls - Oscar Oesar - J. C. O'Flaherty - John Owen - Richard E. Palmer - W. Pannenberg - Raimundo Pannikar - Patmos group - Pauly-Wissowa - Gabrielle Peiffer - Catherine Pickstock - J. Pinborg - H. G. Pohlmann - Ponge - Regin Prenter - R. Preus - Jeffrey C. Pugh - A. Quenstedt - Herman Rapaport - William J. Richardson - H. P. Rickman - Fritz K. Ringer - Richard Roberts - James M. Robinson - Eugen Rosenstock-Huessy - Franz Rosenzweig - Nathan Rosenstreich - D. Saatdjian - John Sallis - Norbert Samuelson - Paul Schempp - P. A. Schilpp - Wolf-Dietrich Schmeid-Kowarzik - Heinrich C. Seeba - Kingsley Shorter - Hugh J. Silverman - Robert Gregor Smith - Ronald Smith - Steven G. Smith - Steven Smith - Rico Sneller - John R. Snyder - Gottlieb Söhngen - William v. Spanos - Gayatri Spivak - Sprat - Harold Stahmer - Joan Stanbaugh - Sigbjørn Stensland - Henry Straten - Richard Sugarman - Bernhard Supahan - Süssmilch - Stuart Sutherland - Richard Swinburne - Tauler - Mark C. Taylor - M. Theunissen - Wilbur M. Urban - Vattimo - Jean-Pierre Vernant - Karl Vossler - Charles T. Waldrop - Graham Ward - Stephen Webb - Stephen H. Webb - Richard White - Roger White - Margaret Whitford - Joseph Wittig - Edith Wyschogrod - Robert E. Wood - Ziesemer

title: User:Charles Matthews/Ward


text: Template:Atlanta airports

title: Template:Atlanta airports


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Talk:Municipalities and communities of Greece

Untitled
This page is being worked on...Tim Graff 17:58, August 22, 2005 (UTC)
 * Before the referendum known as Law 2539 in 1997, named Ioannis Kapodistrias that took the 441 municipalities and the 5,382 communities (then the localities of the municipalities) and merged them into the mostly recent 900 municipalities and 133 communities, can someone tell me where can I find links related with a list of the 441 municipalities and the 5,382 communities prior to 1997? jlog3000 (talk) 17:11, 18 January 2009 (UTC)


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Wikipedia:Articles for deletion/Space Vector Inducer

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was speedy delete as per WP:CSD clause G1. Fernando Rizo T/C 23:32, 22 August 2005 (UTC)

Space Vector Inducer
Appears to be nonexistant device; no source provided A2Kafir 17:59, 22 August 2005 (UTC)
 * Speedy delete as patent nonsense. Tagged. --GraemeL (talk) 18:29, 22 August 2005 (UTC)
 * Delete, Speedy - fantastical device. But the thought of a device to "artificially inseminate wormholes" makes me wonder what is going on in the mind of the creator. -- WCFrancis 18:43, 22 August 2005 (UTC)
 * Maybe he's a cow-ranching amateur astrophysicist.A2Kafir 18:45, 22 August 2005 (UTC)
 * It's all those cow-orkers at NASA. GraemeL (talk) 19:07, 22 August 2005 (UTC)
 * Well, NASA's talking about going back to the moooooooooooooon.....A2Kafir 19:29, 22 August 2005 (UTC)

 * Speedy delete. Patent nonsense.  ManoaChild 19:52, 22 August 2005 (UTC)
 * Reserved. I've suggested to the intital editor that they might like to comment here :) Alf 21:05, 22 August 2005 (UTC)
 * Whoa nellie. You actually edit conflicted with me as I was about to close this one out as a speedy, but I shall defer to your superior patience for now, Alf. Fernando Rizo T/C 21:08, 22 August 2005 (UTC)
 * Speedy delete: all googles are just wiki mirrors. Nonsense. JDoorjam 23:01, 22 August 2005 (UTC)
 * Immediate delete. This is either Star Trek physics or, more likely, a joke. Collabi 23:02, 22 August 2005 (UTC)
 * According to the author's own admission on his talk page, it's nonsense. Closing out. Fernando Rizo T/C 23:32, 22 August 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


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Women in German history series

Women in German history (Frauen der deutschen Geschichte) is a definitive stamp series issued in the Federal Republic of Germany (FRG) and West Berlin from 1986 to 1990, and in reunited Germany 1990 to 2003. The series was replaced by the current definitive series Blumen (flowers) from 3 January 2005.

Description
The stamps were designed by Gerd and Oliver Aretz.

Each stamp represents a portrait of a famous German woman. Two are Austrian: Lise Meitner and Bertha von Suttner. The color of the portrait is different from the color of the country name and denomination.

The name of the country on the stamps changed according to German history :
 * "Deutsche Bundespost" (Federal German Post), 1986–1990 in Western Germany and 1990–1995 in reunited Germany,
 * "Deutsche Bundespost – Berlin", 1986–1990 for a use in West Berlin,
 * "Deutschland" (Germany) since 1995.

The currency of the denomination changed too with the introduction of the euro:
 * 1986 to 2000, expressed in pfennig and without a unit. For example: "100" for 100 pfennig (or 1 deutsche Mark).
 * in 2000 and 2001, the denomination is in pfennig and in euro (with use of € symbol).
 * since 2002, only euro is used with the € symbol.

Even if it was a definitive stamp series, because of the Reunification of Germany some issues for Westberlin were used only a short time and stamps with postmarks from real post services (not the collectors postmarks like most of Berlin 12) are rare.

title: Women in German history series


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National Association of Schools of Art and Design

The National Association of Schools of Art and Design (NASAD), founded in 1944, is an accrediting organization of colleges, schools and universities in the United States. The organization establishes standards for graduate and undergraduate degrees. Member institutions complete periodic peer review processes to become, and remain, accredited. NASAD accreditation should not be confused with regional accreditation.

Standards for accreditation
The National Association for Schools of Art and Design has stringent criteria for accrediting schools. For example, the NASAD requires that schools clearly publish their tuition rates and course descriptions. In addition, board members assess the schools' art curricula and promote new standards to advance art education.


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Hamersley Range

The Hamersley Range is a mountainous region of the Pilbara region of Western Australia. The range was named on 12 June 1861 by explorer Francis Thomas Gregory after Edward Hamersley, a prominent promoter of his exploration expedition to the northwest. Karijini National Park (formerly known as Hamersley Range National Park) lies within the range.

History
The traditional Aboriginal owners of the area that the range runs through are the Puutu Kunti Kurrama and Pinikura peoples.

In 1999 a small range within the Hamersley was named the Hancock Range after the Hancock family, who were pioneers in the area. The Hancock range is east of Karijini National Park in a region of broad valleys and peaks that rise to almost 1200 m. The Hancock Range is close to Mulga Downs Station, a property owned by the Hancock family and where Lang Hancock is buried.

Geography
The range runs from the Fortescue River in the northeast, 460 km to the south. The range contains Western Australia's highest point, Mount Meharry, which reaches approximately 1249 m AHD. There are many extensively eroded gorges, such as Wittenoom Gorge. The twenty highest peaks in Western Australia are in the Hamersley Range. Peaks in the range include Mount Bruce (1234 m), Mount Nameless/Jarndunmunha (1115 m), Mount Reeder Nichols (1109 m), Mount Samson (1107 m), Mount Truchanas (1148 m) and Mount Tom Price (775 m).

Karijini National Park (formerly Hamersley National Park), one of Australia's largest national parks, is centred in the range.

Mining

The range contains large deposits of iron ore, producing a large proportion of Australia's iron ore exports. It is predominately associated with banded iron formation. Western Australia's major iron producers have mines, communities and railways that occur along the range. Rio Tinto operates several iron ore mines within the range, including Mount Tom Price, Marandoo, Brockman, Channar, West Angelas, Mesa A mine, and Paraburdoo. Over 100 million tonnes of iron ore is removed from the range every year.

Existence of crocidolite (blue asbestos) in the Hamersley Range has been known since 1915. In 1917 crocidolite was discovered at Wittenoom, it was mined from the 1930s and was discontinued in 1966 because of unprofitable production costs. Wittenoom was Australia's only blue asbestos mining town.

Juukan Gorge
A cave in Juukan Gorge, about 60 km from Mt Tom Price, was one of the oldest in the western Pilbara region, and the only inland site in Australia to show signs of continuous human occupation through the Ice Age. The cave was destroyed by Rio Tinto along with another Aboriginal sacred site on 23 May 2020 as part of their expansion of the Brockman 4 mine.

title: Hamersley Range


text:
User talk:Scissorbeatsrock

Welcome
Hello, , and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. If you are stuck, and looking for help, please come to the Wikipedia Boot Camp, where experienced Wikipedians can answer any queries you have! Or, you can just type   on your user page, and someone will show up shortly to answer your questions. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. Again, welcome! --Lord Voldemort (Dark Mark) 18:03, 22 August 2005 (UTC)
 * The Five Pillars of Wikipedia
 * How to edit a page
 * Editing tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style

title: User talk:Scissorbeatsrock


text:
Queen Christina (film)

Queen Christina is a pre-Code Hollywood biographical film, produced for Metro-Goldwyn-Mayer in 1933 by Walter Wanger and directed by Rouben Mamoulian. It stars Swedish-born actress Greta Garbo and John Gilbert in their fourth and last film together.

The film portrays the life of Queen Christina of Sweden, who became monarch at the age of six in 1632 and grew to be a powerful and influential leader. As well as coping with the demands of ruling Sweden during the Thirty Years' War, Christina is expected to marry a suitable royal figure and produce an heir. When she falls in love with a visiting Spanish envoy, whom she is forbidden to marry because he is a Roman Catholic, she must choose between love and her royal duty.

The film was a major commercial and critical success in the United States and worldwide.

Plot
Queen Christina of Sweden (Greta Garbo) is devoted to her country and the welfare of her people. As queen, she favors peace for Sweden and argues convincingly for an end to the Thirty Years' War, saying:

"Spoils, glory, flags and trumpets! What is behind these high-sounding words? Death and destruction, triumphals of crippled men, Sweden victorious in a ravaged Europe, an island in a dead sea. I tell you, I want no more of it. I want for my people security and happiness. I want to cultivate the arts of peace, the arts of life. I want peace and peace I will have!"

Christina, who first took the throne at age six upon the death of her father in battle, is depicted as being so devoted to both governing well and educating herself that she has spurned any kind of serious romance or marriage, despite pressure from her councilors and court to marry her heroic cousin Karl Gustav (Reginald Owen) and produce an heir. One day, in an effort to escape the restrictions of her royal life, she sneaks out of town and ends up at the same inn as Antonio (John Gilbert), a Spanish envoy on his way to the capital. The two talk and become friends, though Antonio thinks Christina is a man because of the way she is dressed. When the innkeeper, who is also unaware of Christina's identity, asks if she will let Antonio share her bed because there is no room available for him, Christina is unable to come up with a suitable reason to deny the request. In her room, she reveals to Antonio that she is a woman, but not that she is a queen, and they spend the night together. Their tryst is extended by a few days when they become snowbound at the inn.

When the time comes for Christina and Antonio to part, Christina assures Antonio that they will reunite in Stockholm. To his surprise, this occurs when the Spaniard is presented to the Queen, whom he recognizes as his lover. Antonio is initially somewhat hurt and annoyed because he thinks Christina has played a trick on him and compromised his loyalty to the King of Spain, who sent Antonio on this mission to Sweden to present Christina with an offer of marriage on his behalf. She makes it clear that her feelings for Antonio are genuine and that she regularly receives such offers from foreign royalty and has no intention of accepting the King's proposal, and she and Antonio patch things up.

When the scheming Count Magnus (Ian Keith), who had previously had some romantic liaisons with the Queen, rouses the people against the Spaniard, Christina is able to ease tensions for a time, but ultimately, she decides to name Karl Gustav as her successor and, in a move that shocks the entire court, abdicates the throne to be with Antonio. When she gets to the boat that is to take Antonio and her to Spain, she finds him gravely wounded from a sword duel with Magnus, which he lost. Antonio dies in her arms, but Christina resolves to proceed with the voyage. She envisions residing in the home Antonio described to her as sitting on white cliffs overlooking the sea.

Cast

 * Greta Garbo as Christina, Queen of Sweden
 * John Gilbert as Antonio Pimentel de Prado
 * Ian Keith as Count Magnus Gabriel De la Gardie
 * Lewis Stone as Axel Oxenstierna
 * Elizabeth Young as Countess Ebba Sparre
 * C. Aubrey Smith as Aage
 * Reginald Owen as Charles X Gustav of Sweden
 * Georges Renavent as Chanut, the French Ambassador
 * David Torrence as Archbishop
 * Gustav von Seyffertitz as General
 * Ferdinand Munier as Innkeeper

Uncredited Cast
 * Cora Sue Collins as Christina as a Child
 * C. Montague Shaw as King Gustavus Adolphus of Sweden
 * Akim Tamiroff as Pedro
 * Barbara Barondess as Elsa
 * Tiny Sandford as Cook at the Inn
 * Bodil Rosing as Innkeeper's Wife
 * Muriel Evans as Barmaid at the Inn
 * Edward Gargan as Drinker Betting on 9
 * Paul Hurst as Swedish Soldier Betting on 6
 * Hooper Atchley as Antonio's Companion in Coach
 * James Burke as Blacksmith Rabble Rouser
 * Wade Boteler as Magnus' Rabble Rouser
 * Gladden James as Rabble Rouser
 * Richard Alexander as Peasant
 * Edward Norris as Count Jacob
 * Carrie Daumery as Woman at Court
 * Fred Kohler as Member of Court

Production
The film was released in December 1933. It was directed by Rouben Mamoulian and written by H. M. Harwood and Salka Viertel, with dialogue by S. N. Behrman, based on a story by Viertel and Margaret P. Levino. The leading roles are played by Greta Garbo as Christina and John Gilbert as Don Antonio, an emissary from Spain. Laurence Olivier originally was cast as Antonio, but was fired during rehearsals. It was billed as Garbo's return to cinema after an eighteen-month hiatus. While on holiday in Sweden, the actress read a treatment by Viertel about the life of Christina and became interested in the story. At the time of shooting the film, Garbo was 28, the same age as her character.

Garbo herself insisted on having Gilbert as her co-star. It was the fourth and last time that they were in a film together, and it was Gilbert's penultimate film. He had been a huge star in the silent era, but the enmity of studio head Louis B. Mayer cast a pall over his career, and he died in January 1936 from heart attacks exacerbated by alcoholism.

The film is remembered for two iconic moments. The first is a scene in which, having spent two nights with Antonio in her room at the inn, Christina spends over three minutes walking around and examining and caressing various objects to imprint the space on her memory. The second, and arguably the most famous image in the film, is the closing shot, in which Christina stands as a silent figurehead at the bow of the ship bound for Spain, the wind blowing through her hair, while the camera moves into a tight close-up on her face. Prior to shooting the final scene, Mamoulian suggested that Garbo should think about nothing and avoid blinking her eyes so her face could be a "blank sheet of paper" and every member of the audience could write the ending of the film themselves.

Critical reception and box office
The film premiered in New York City on December 26, 1933, and opened in the rest of the world throughout 1934. It was nominated for the Mussolini Cup award at the Venice Film Festival in 1934, but lost to Man of Aran.

Queen Christina turned out to be a success with the critics, gathering many positive reviews. Critic Mordaunt Hall, writing for The New York Times, gave the film a positive review and liked the screenplay, calling the dialogue "a bright and smooth piece of writing" and referred to Mamoulian's direction as "entrancing". Positive opinions came also from Modern Screen's Walter Ramsey, who proclaimed it a "triumph for Garbo", and a reviewer for Photoplay, who acclaimed Garbo's "glorious reappearance".

Motion Picture Daily called the film "creaky in spots", but reported that Garbo "does beautifully" and that the film was "well above the average in content and value." The New York Daily News wrote: "The picture moves a little slowly, but with grace, from one lovely setting to another. It is a picture that must not be missed, because Garbo is at her best in some of its scenes."

Some reviews were mixed. "Garbo overwhelms the picture", wrote John Mosher in The New Yorker. "The story, the setting, her support cannot live up to her." Variety found the film "slow and ofttimes stilted", though it wrote that Garbo's "regal impression is convincing, which counts for plenty." The Sun of New York wrote that "Garbo seems to be suffering from an acute case of glamour. And that is probably not her fault. Gilbert tried very hard, but his performance is a little stilted. Queen Christina misses fire, somehow, and that is disappointing."

According to the AFI Catalog, despite the critical acclaim, the film did not do well at the American box office. TCM's Frank Miller stated: "It would be years before foreign revenues and reissues brought the film into the profit column." In 1994, Barry Paris wrote that final tally was: "Cost: $1,144,000. Earnings: domestic $767,000; foreign $1,843,000; total $2,610,000. Profit: $632,000".

As of June 2020, Queen Christina had a 90% "Fresh" rating at Rotten Tomatoes, based on 21 reviews. Leonard Maltin gave the film 4 out of 4 stars, calling it "Probably Garbo's best film, with a haunting performance by the radiant star as 17th-century Swedish queen who relinquishes her throne for her lover, Gilbert. Garbo and Gilbert's love scenes together are truly memorable, as is the famous final shot...”

The part of Queen Christina is regarded as one of the better in Garbo's filmography, and the film is especially notable for resoundingly disproving rumors that John Gilbert's lack of success in the sound era was due to his having an unsuitable voice.

Historical accuracy
The film is a historical costume drama based loosely on the life of 17th-century Queen Christina of Sweden, and still more loosely on August Strindberg's history play Kristina. A number of historical characters appear in the film (such as Axel Oxenstierna, Charles X Gustav of Sweden, and Magnus Gabriel De la Gardie), and some historical events are depicted (such as the Thirty Years' War and Christina's abdication), but Queen Christina is not a film that adheres closely to the facts. In this highly fictionalized account, it is falling in love that brings Christina into conflict with the political realities of her society, whereas, in real life, Christina's main reasons for abdication were her determination not to marry, to live as she pleased, and to openly convert to Catholicism.

The romance with Antonio is fiction and can be seen as a typical "Hollywood" distortion of history—unless it is understood as an allegory, with her love for Don Antonio representing her love of the intellectual life and her embrace of the Catholic faith. In reality, Christina was devoted to her maid of honor, friend, and "bedfellow" Ebba Sparre. In the film, Christina kisses Ebba twice, but the kisses are quite chaste, and any suggestion of a romantic relationship between the two women is firmly blocked by a scene in which Christina comes upon Ebba and Count Jakob meeting on a staircase and immediately leaves for what will be her encounter with Antonio. When Christina returns, she apologizes to Ebba and promises she may marry her beloved Count. The real Ebba did marry Count Jakob, but the marriage was an unhappy one.

The film is correct in stating that Christina's father had her raised as if she were a boy, with the education and responsibilities expected of a male heir, and in depicting her habit of dressing as a man, which continued throughout her life. The historical Christina was, also, indeed adamant about making peace, and was a patron of science, art, and culture, dreaming of making Stockholm the "Athens of the North".

title: Queen Christina (film)


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Hirabayashi v. United States

Hirabayashi v. United States, 320 U.S. 81 (1943), was a case in which the United States Supreme Court held that the application of curfews against members of a minority group were constitutional when the nation was at war with the country from which that group's ancestors originated. The case arose out of the issuance of Executive Order 9066 following the attack on Pearl Harbor and the U.S. entry into World War II. President Franklin D. Roosevelt had authorized military commanders to secure areas from which "any or all persons may be excluded", and Japanese Americans living in the West Coast were subject to a curfew and other restrictions before being removed to internment camps. The plaintiff, Gordon Hirabayashi, was convicted of violating the curfew and had appealed to the Supreme Court. Yasui v. United States was a companion case decided the same day. Both convictions were overturned in coram nobis proceedings in the 1980s.

Background
After the bombing of Pearl Harbor, American public opinion initially stood by the large population of Japanese Americans living on the West Coast or at least did not openly question their loyalty to the United States. Six weeks later, however, public opinion had turned against Japanese Americans, as the press and other Americans became nervous about the potential for fifth column activity. Though the administration (including President Roosevelt and FBI Director J. Edgar Hoover) dismissed rumors of Japanese American espionage on behalf of the Japanese war effort, pressure mounted upon the Administration, as the tide of public opinion turned against Japanese Americans.

On February 19, 1942, Roosevelt issued Executive Order 9066, authorizing Lieutenant General John L. DeWitt, as head of the Western Defense Command, to exclude certain persons from "military areas," regardless of their ancestry or country of citizenship. Over the course of several weeks, DeWitt issued several public proclamations that first imposed a curfew upon Japanese American citizens and resident "aliens" of Japanese descent. (The Issei, or first-generation immigrants, were prohibited from naturalized citizenship as members of an "unassimilable" race.) Later orders confined Japanese Americans to Military Area No. 1, which included Seattle, where Hirabayashi lived. On May 3, 1942, DeWitt issued an order requiring Japanese Americans in the Seattle area to report to assigned assembly points for "evacuation" to isolated inland camps. (At the time, the terms "relocation centers," "internment camps," and "concentration camps" were used interchangeably.)

Case
The defendant, Gordon Hirabayashi, was a University of Washington student who was accused of violating the curfew and exclusion order, designated a misdemeanor by Public Law 503, a congressional statute introduced to enforce Executive Order 9066 and any subsequent military orders. Hirabayashi turned himself in for disobeying the curfew at the FBI's Seattle office on May 16, 1942 and announced that he planned to disobey the impending removal order.

After his arrest, he was approached by an acquaintance, liberal Washington State Senator Mary Farquharson, who suggested that he make his case a test case. She organized a support committee for Hirabayashi and served as its secretary-treasurer as the committee raised funds for his legal defense. (This support was important in advancing the case, as the ACLU refused to support Hirabayashi.)

He was held in King County Jail for five months, until his trial on October 20. The jury deliberated for just ten minutes before it returned two guilty verdicts, one for the curfew violation and another for the exclusion order, and Hirabayashi was sentenced to consecutive 30-day jail terms. (After requesting to serve his time in an outdoor labor camp rather than prison, Judge Lloyd Black handed down two 90-day sentences, to be served concurrently at the Catalina Federal Honor Camp, outside Tucson, Arizona.)

Hirabayashi's lawyers appealed the conviction, and after the Ninth Circuit Court of Appeals in San Francisco declined to rule on the case, it eventually landed in the Supreme Court.

The Justice Department expected a legal challenge to all of the three substantive elements of Roosevelt's and DeWitt's directives to Japanese Americans: curfew, exclusion, and internment. The administration, particularly the Department of Justice and Francis Biddle, sought out test cases that it could use to establish favorable precedent and prepared itself for a case that could challenge the entire internment policy.

The Supreme Court heard both the Hirabayashi case and Yasui v. United States during the 1942–43 term. It released the opinions as companion cases on June 21, 1943 and upheld the curfew order in both cases. (Although Hirabayashi had been convicted of two violations, the two sentences had been served concurrently and so the Justices chose to consider only the curfew, not the more controversial exclusion of Japanese American citizens.) Minoru Yasui was "released" to the Minidoka concentration camp on time served, and Hirabayashi, who had been living in Spokane, Washington since he had finished his sentence at Catalina, briefly remained free before he was sent to the McNeil Island Federal Penitentiary when he refused to comply with a draft order.

Later developments
This case has been largely overshadowed by Korematsu v. United States, decided the following term, in which the Court directly addressed the constitutionality of the removal of Japanese Americans from the West Coast. But, though the Korematsu case (challenging the exclusion portion of Executive Order 9066) overshadowed the Hirabayashi case (challenging only the curfew portion of the order), the Court's opinion in Korematsu cited its Hirabayashi ruling, upholding the restrictions placed on Japanese Americans.

The Hirabayashi case is notable also in that the three dissenters in Korematsu, Justices Roberts, Jackson, and Murphy had either been persuaded by fellow justices to vote with the majority or, in the case of Murphy, to concur. An article by historian Sidney Fine published in Pacific Historical Review in May 1964, "Mr. Justice Murphy and the Hirabayashi Case", pp. 195–209, shows how that Justice's initial draft opinion was a vigorous dissent, but that he eventually yielded to the arguments of his fellow Justices and issued a concurrence – which, in Fine's view, "bore a striking resemblance to the dissenting opinion he had intended to issue." In the Korematsu decision, Murphy's dissent was vehement, calling the majority opinion "legalization of racism."

In 1986 and 1987, Hirabayashi's convictions on both charges were overturned by the U.S. District Court in Seattle and the Federal Appeals Court, because evidence arose that the Solicitor General's office (led by Charles H. Fahy) had cited examples of Japanese American sabotage in its 1943–44 Supreme Court arguments, despite having researched and debunked all the rumored incidents. In 2011, the Acting Solicitor General officially confessed error in that regard. The United States Court of Appeals for the Ninth Circuit issued the final decision as Hirabayashi v. United States in 1987.

In May 2012, President Obama posthumously awarded Gordon Hirabayashi the Presidential Medal of Freedom, America's highest civilian honor.

Eleven lawyers who had represented Fred Korematsu, Gordon Hirabayashi, and Minoru Yasui in successful efforts in lower federal courts to nullify their convictions for violating military curfew and exclusion orders sent a letter, dated January 13, 2014, to Solicitor General Donald Verrilli Jr. In light of the appeal proceedings before the U.S. Supreme in Hedges v. Obama, the lawyers asked Verrili to request the Supreme Court to overrule its 1943 decisions in Korematsu, Hirabayashi and Yasui. If the Solicitor General shouldn't do this, they asked that the United States government "make clear" that the federal government "does not consider the internment decisions as valid precedent for governmental or military detention of individuals or groups without due process of law [...]."

title: Hirabayashi v. United States


text: User talk:69.168.101.95

title: User talk:69.168.101.95


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Kuleshov effect

The Kuleshov effect is a film editing (montage) effect demonstrated by Russian film-maker Lev Kuleshov in the 1910s and 1920s. It is a mental phenomenon by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation.

Specifics
Kuleshov edited a short film in which a shot of the expressionless face of Tsarist matinee idol Ivan Mosjoukine was alternated with various other shots (a bowl of soup, a girl in a coffin, a woman on a divan). The film was shown to an audience who believed that the expression on Mosjoukine's face was different each time he appeared, depending on whether he was "looking at" the bowl of soup, the girl in the coffin, or the woman on the divan, showing an expression of hunger, grief, or desire, respectively. The footage of Mosjoukine was actually the same shot each time. Vsevolod Pudovkin (who later claimed to have been the co-creator of the experiment) described in 1929 how the audience "raved about the acting ... the heavy pensiveness of his mood over the forgotten soup, were touched and moved by the deep sorrow with which he looked on the dead child, and noted the lust with which he observed the woman. But we knew that in all three cases the face was exactly the same."

Kuleshov used the experiment to indicate the usefulness and effectiveness of film editing. The implication is that viewers brought their own emotional reactions to this sequence of images, and then moreover attributed those reactions to the actor, investing his impassive face with their own feelings. Kuleshov believed this, along with montage, had to be the basis of cinema as an independent art form.

The experiment itself was created by assembling fragments of pre-existing film from the Tsarist film industry, with no new material. Mosjoukine had been the leading romantic "star" of Tsarist cinema, and familiar to the audience.

Kuleshov demonstrated the necessity of considering montage as the basic tool of cinema. In Kuleshov's view, the cinema consists of fragments and the assembly of those fragments, the assembly of elements which in reality are distinct. It is therefore not the content of the images in a film which is important, but their combination. The raw materials of such an art work need not be original, but are prefabricated elements which can be disassembled and reassembled by the artist into new juxtapositions.

The montage experiments carried out by Kuleshov in the late 1910s and early 1920s formed the theoretical basis of Soviet montage cinema, culminating in the famous films of the late 1920s by directors such as Sergei Eisenstein, Vsevolod Pudovkin and Dziga Vertov, among others. These films included The Battleship Potemkin, October, Mother, The End of St. Petersburg, and The Man with a Movie Camera.

The effect has also been studied by psychologists and is well-known among modern film-makers. Alfred Hitchcock refers to the effect in his conversations with François Truffaut, using actor James Stewart as the example. In the famous "Definition of Happiness" interview which was part of the CBC Telescope program, Hitchcock also explained in detail many types of editing to Fletcher Markle. The final form, which he calls "pure editing", is explained visually using the Kuleshov effect. In the first version of the example, Hitchcock is squinting, and the audience sees footage of a woman with a baby. The screen then returns to Hitchcock's face, now smiling. In effect, he is a kind old man. In the second example, the woman and baby are replaced with a woman in a bikini, Hitchcock explains: "What is he now? He's a dirty old man."

Research
The Kuleshov effect has been studied by psychologists only in recent years. Prince and Hensley (1992) recreated the original study design but did not find the alleged effect. The study had 137 participants but was a single-trial between-subject experiment, which is prone to noise in the data. Dean Mobbs et al. did a within-subject fMRI study in 2006 and found an effect for negative, positive, or neutral valence. When a neutral face was shown behind a sad scene, it seemed sad; when it was shown behind a happy scene, it seemed happy. In 2016, Daniel Barratt et al. tested 36 participants using 24 film sequences across five emotional conditions (happiness, sadness, hunger, fear, and desire) and a neutral control condition. Again, they showed that neutral faces were rated in accordance with the stimuli material, confirming the 2006 findings of Mobbs et al.

Thus, despite the initial problems in testing the Kuleshov effect experimentally, researchers now agree that the context in which a face is shown has a significant effect on how the face is perceived.

To find out whether the Kuleshov effect can also be induced auditorily, Andreas M. Baranowski and Heiko Hecht intercut different clips of faces with neutral scenes, featuring happy music, sad music, or no music at all. They found that the music significantly influenced participants’ emotional judgments of facial expression.

title: Kuleshov effect


text:
Analyze That

Analyze That is a 2002 American crime comedy film directed by Harold Ramis and produced by Paula Weinstein and Jane Rosenthal. The film is a sequel to the 1999 film Analyze This. The film starred Robert De Niro and Billy Crystal who respectively reprise their roles as mobster Paul Vitti and psychiatrist Ben Sobel.

Following the success of the first film, Warner Bros. developed a follow-up to the film, with much of the same cast and crew returning. Analyze That was released on December 6, 2002, however, did not achieve the commercial success that the first film had, grossing only $55 million worldwide against its $60 million budget.

Plot
Near the completion of his sentence in Sing Sing, Paul Vitti's life is threatened by assassins and corrupt guards while incarcerated. He starts singing showtunes from West Side Story to get the attention of Ben Sobel, who previously hung up on him while attending his father's funeral.

The FBI calls in Ben to perform psychiatric tests on Paul to determine if he is feigning insanity. After the tests, it appears Paul's mental state is deteriorating, and the FBI approves Paul's release for one month, into Ben's custody, for further therapy. As Ben drives Paul from prison, Paul immediately reveals that he was faking.

Ben talks Paul into finding a regular job as requested by the FBI. Paul attempts to find a legitimate job (he tries a car dealer, a restaurant, and a jewelry store), but his rude manners and paranoia only complicate things further. This ends up in him getting fired each time.

At the same time, Paul is told by de facto boss Patti LoPresti that the Rigazzi family wants him dead. He responds to this by telling the Rigazzis that he is "out" and seeking a new line of employment. He eventually finds employment working as a technical advisor on the set of a mafia TV series.

Meanwhile, FBI agents inform Ben that Paul has his former crew back together, and may be planning something major. This rouses Ben's suspicion, and he visits Paul. Both get caught up in a car chase with Rigazzi hitmen, which ends up with Paul escaping. The FBI blames Ben, and gives him 24 hours to locate Paul.

After locating Paul through Ben's son Michael, who is now working as Paul's chauffeur, Ben discovers Paul is planning a big armored car heist with LoPresti as a partner. He attempts to intervene and talk Paul out of it but Paul proceeds and Ben is forced to go along as well.

The crew ambushes the armored car with smoke grenades, and lift it over a fence in the midst of the confusion. They extract over $22 million of gold bullion, but LoPresti's thugs take over, revealing themselves to actually have been working for Rigazzi.

Ben, in a fit of anger, beats one of them, and Paul's men apprehend the others. They use the gold bullion to frame the Rigazzi family, leaving three Rigazzi goons locked in the armored truck suspended from the crane. This leads to the arrest of the entire Rigazzi family, and in turn, prevents a mob war.

Ben meets with Paul and Jelly near bridges on the New York waterfront, and they part ways again as friends, singing another West Side Story showtune together. During the credits, bloopers are shown.

Pre-production
Initially, there was no plan to create a sequel to Analyze This, but the critical acclaim and box office success generated by the first film encouraged the producers to consider a sequel and discuss it with the studio and actors. They believed, as said by Crystal, that "there was an unfinished relationship between Ben Sobel and Paul Vitti from the first film" and "there was a good story to tell", so the sequel was commissioned.

The story of the sequel was inspired by an article in The New York Times about the psychotherapy used in the mafia TV show The Sopranos. Ramis said the article "raised questions about human nature and morality...Can the criminal mind be turned?" and he became interested in what would happen if "Paul Vitti got out of jail and committed himself to going straight."

The production arranged for Dr. Stephen A. Sands, a psychiatrist and faculty member of Columbia University College of Physicians and Surgeons to be a technical adviser for the film, and he remained on set during the filming of scenes that involved psychiatric issues. Sands was very familiar with the details of mobster Vincent "The Chin" Gigante's alleged mental illness, after studying the case during his post-doctoral training. Sands also arranged for De Niro to visit Bellevue Hospital's psychiatric unit to meet patients and psychiatrists to discuss the character's symptoms, and De Niro sometimes participated in group therapy sessions during these visits.

Filming
Filming began in April 2002, and most of the scenes were shot in and around New York City, 7 months after the 9-11 attacks. Producer Jane Rosenthal said they decided to shoot the film there because "[i]t would have been unpatriotic not to shoot the picture in New York... As a New Yorker it was extremely important for me to get back to work and business as usual after 9-11."

Filming locations for Vitti's attempts at lawful employment include an Audi dealership on Park Avenue in Manhattan, a jewelry store in the Diamond District on West 47th Street, and Gallagher's Steak House on West 52nd Street. The prison scenes were filmed at the Riker's Island prison in Queens, with the prison release scene shot outside the entrance to Sing Sing Prison in Ossining, New York. The funeral for Ben's father was filmed at Riverside Memorial Chapel on Manhattan's Upper West Side, and the Sobel household scenes shot in Montclair, New Jersey. The dinner at Nogo restaurant was filmed at West 13th Street in a restaurant that had closed down, and been refurbished by the film's art department. The scenes of Patty LoPresti's home were filmed in Ho-Ho-Kus, New Jersey, and the Little Caesar set in Washington Square Park, Manhattan. Car chases were filmed on New Jersey Turnpike service roads in Kearney. The heist-planning scenes were shot in two locations: a derelict building in the meat packing district near West 14th Street, and a club called Exit on West 56th Street. The majority of the heist scenes were shot in an empty lot in West 57th Street between 11th and 12th Avenues, and below a West Side Highway underpass. While filming part of the heist sequence at the New York State 369th Regiment armory, on 145th Street and Fifth Avenue, the film set was visited by former President Bill Clinton, who was pleased the movie was being filmed in New York. The scene at a drive-through bank where the money flies before the police chase was filmed in Carlstadt, New Jersey.

During filming in Manhattan's Chelsea district June 14, Amanda Winklevoss, older sister to Cameron and Tyler Winklevoss, died from a cardiac arrest due to a drug overdose after climbing into a camera truck.

Cinematographer Ellen Kuras said that in shooting the film, the intention was to highlight the contrast between Vitti and Sobel's environments, because the film "exists in two different worlds... We wanted to evoke the contrast so we made Vitti's world cool, blue and blue-green, whereas Ben's world has a brighter, warmer palette, yellows and oranges that provide a neutral tone."

Box office
Analyze That opened in 2,635 theaters and grossed $11 million in its opening weekend, ranking in second place behind Die Another Day. The film went on to gross $32 million at the domestic box office and a further $23 million at the international box office for a worldwide total of $55 million against its $60 million budget.

Critical reception
On Rotten Tomatoes, the film has an approval rating of 27% based on 150 reviews, with an average rating of 4.8/10. The site's consensus reads: "The one joke premise is stretched a bit thin in this messy sequel, but a few laughs can be had here and there." On Metacritic, the film has a weighted average score of 37 out of 100, based on reviews from 34 critics, indicating "generally unfavorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.

Roger Ebert gave the film 2 out of 4 stars, and wrote "If the first film seemed to flow naturally from the premise, this one seems to slink uneasily onto the screen, aware that it feels exactly like a facile, superficial recycling job."

The film won the award for Worst Sequel at the 2002 Stinkers Bad Movie Awards.

title: Analyze That


text:
Wikipedia:Articles for deletion/Obfuscated Weird Language

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was DELETE. Paul August ☎ 18:14, August 29, 2005 (UTC)

Obfuscated Weird Language
Too weird for Wikipedia. Advertisement for nn language (very few google hits) Punkmorten 18:04, 22 August 2005 (UTC)
 * Delete. nn joke programming language. ManoaChild 19:55, 22 August 2005 (UTC)
 * Delete. but not a hoax programming language, badvertisement. Alf 21:42, 22 August 2005 (UTC)
 * Delete. advertisement. BorgQueen 16:09, 24 August 2005 (UTC)
 * Keep. programming languages are inherently notable. Voyager640 20:10, 24 August 2005 (UTC
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


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Lamen (magic)

A lamen (Latin, meaning "plate") is a magical pendant or breastplate worn around the neck so that it hangs upon the breast over the heart. Its uses vary but, most commonly, the term refers to a symbol of authority and a focus of magical energies. Aleister Crowley described the lamen as "a sort of coat of arms. It expresses the character and powers of the wearer." Crowley and DuQuette have proposed that the magical lamen might be a modern adaptation of the priestly breastplate of the ancient Hebrews.

The magician may wear a lamen as a representation of his personal relation to his godhead or the universal forces of balance and enlightenment.

Within group ceremony, lamens are frequently worn as symbols of particular offices or roles within the ritual work. Many magical orders also use a particular lamen design to show membership and align energies of individual members with the group dynamic.

Various magical orders use lamens in one or more of these ways, including Ordo Templi Orientis and Hermetic Order of the Golden Dawn.

Lamens may also be used by magicians to evoke certain spirits of the Key of Solomon. Specialized lamens are also used in the workings described in The Book of Abramelin.

title: Lamen (magic)


text:
User talk:GalFisk

Hola
Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! Karmafist 18:05, 22 August 2005 (UTC)
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title: User talk:GalFisk


text:
Talk:Smallmouth bass

Typo
The second paragraph begins "There smallmouth bass is marked by is a series of dark bars ..." Is this a typo, maybe should say "The smallmouth bass ..."? Or is "There" referring to the geographic area in the previous paragraph? (In which case it could be made more clear.) ;Bear 18:06, August 22, 2005 (UTC)

WikiProject Food and drink Tagging
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crossbreed?
Can they cross with largemouths or bream? —Preceding unsigned comment added by 96.248.6.25 (talk) 17:00, 24 July 2010 (UTC)

Wrong Picture
The picture is not a Smallmouth bass... Its a rock bass. This is obvious from the red eyes. 72.77.93.75 (talk) 01:38, 18 April 2011 (UTC)

 * I'm no expert, but the picture is by Duane Raver, who is known for his attention to detail. Maybe the color didn't digitize correctly?  Other than coloring, it looks more like smallmouth than rock bass.  Any fishermen out there? — Preceding unsigned comment added by 76.241.75.13 (talk) 18:53, 21 July 2012 (UTC)

 * See also the photo File:Micropterus dolomieu.jpg, also by US Fish and Wildlife Service, which has red eyes as well. I doubt that two different USFWS people would have both gotten it wrong, so likely it is correct. Koumz (talk) 01:07, 22 July 2012 (UTC)

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title: Talk:Smallmouth bass


text:
Talk:Charade (1963 film)

Copyright
This movie fell into the public domain, as soon as it was released, as absolutely no claim of copyright was put into the original prints.
 * You don't have to claim copyright, copyright is automatically given by law to the author. —Tokek 18:06, 22 August 2005 (UTC)
 * On movies, that was not the case in the US at the time - it had to be expressly claimed. US laws never make sense to me anyway.... --Kiand 18:12, 22 August 2005 (UTC)
 * Works would have been automatically copyrighted upon release only after 1989. --Fallout boy 05:51, 17 November 2005 (UTC)
 * About that: what do you make of this? -Litefantastic 22:19, 25 June 2006 (UTC)

Original prints may be in the public domain but the elements they were made from, (negatives, soundtracks and so on) may still be protected or at least highly disputable. One may need to prove that a given copy truly traces back to an original print which was released without a copyright claim in order to assert public domain on that copy. Moreover, the music is still likely under separate copyright, making it possible to impede distribution of a copy with an intact soundtrack. Oh and finally, Stone's original screenplay and novelisation are almost certainly still copyrighted, which could make it illegal to re-distribute the work without that copyright holder's permission. Gwen Gale 05:05, 30 November 2006 (UTC)
 * My understanding is that the film itself -- as a complete entity -- is public domain and has been released in various DVD and VHS forms in this spirit (including as a bonus on The Truth About Charlie DVD and Criterion's edition). However additional elements such as commentaries, documentaries, restorations, etc. would have their own copyright so as such one couldn't just make a dub of the Criterion edition and sell it. Agreed the story isn't public domain, and as such the book and original soundtrack LP would still be in copyright ... which could explain why they've both been out of print for nearly 45 years instead of being reissued left, right and centre. I think book copyright works differently anyway as I personally have yet to encounter a similar situation with a literary work, yet there are numerous movies (including MGM films such as Royal Wedding) which are no longer copyrighted under US law. 23skidoo 22:04, 4 December 2006 (UTC)

 * I think Gwen Gale makes a very good point here about the screenplay and music of the film possibly being under copyright, which would mean that the film is not "in the public domain" even though there is no copyright attaching to the entire print of the film. But if that argument is valid for Charade, wouldn't it be valid for most of the films of the 1940s, 1950s, and 1960s that are considered to be Category:Public domain films? Yet lots of these 1950s public-domain films do get put out on DVD collections by apparently reputable companies, and sold by apparently reputable retailers. I would be curious to get a definitive answer on this.
 * As for Charade specifically, I found the following by poking around on Google: a 2002 article in the Los Angeles Times says that for a time it was "mistakenly" thought that Charade was in the public domain. There is a discussion thread at archive.org discussing the issue, inconclusively. In a discussion thread on topiclink.com, someone says he "knows someone who put Charade on the shelf and now he is being sued".  --Mathew5000 19:58, 31 March 2007 (UTC)

 * Regarding the general public domain issue, there's also the fact that whether or not the film is public domain, film prints and DVD transfers are still copyrighted. Meaning the screenshots used here and elsewhere on Wikipedia under the guise of PD may or may not be legit. Doctor Sunshine   talk  21:10, 31 March 2007 (UTC)

Actually, while copyright notices were required, under later law (effected to meet treaty obligations) at least some copyrights lost for lack of notices can be recovered. The copyright for The Lord of the Rings was recovered in this manner. So why, then, hasn't the Charade copyright been likewise recovered? or has it? —SlamDiego←T 07:40, 7 January 2009 (UTC)

Was Cary Grant's character really working for the CIA? (spoilers)
The previous version of the description stated that Cary Grant's character (let's call him Peter Joshua) is revealed to be working for the CIA at the end of the movie. While that is certainly one possible interpretation, another is that Joshua (who we may presume is a professional conman and criminal) assumes the identity of the CIA official in a final bid to get hold of the stamps. He seems to dictate a memo to his secretary in order to prove his authenticity, but this too could be an illusion. The movie allows both possibilities, so I have reworded the description to say that Audrey Hepburn's character finds Joshua behind the official's desk, without affirming that he is a genuine official. Grover cleveland 04:06, 10 September 2006 (UTC)

 * Nowhere (that I can recall) is it indicated that he worked for the CIA. Dyle claimed he was an agent, but not Joshua. In any case, it isn't the duty of the CIA to recover ill-gotten gains (see CIA). Joshua was just a embassy official, though I must admit, he went to rather extreme lengths to do his job. Clarityfiend 03:26, 14 September 2006 (UTC)

 * I guess my question is: was Joshua really an embassy official, or was he just pretending to be one? There are some interesting clues:  he dictates a message to "his" secretary, but we never see or hear any acknowledgement from the secretary -- for all we know the dictation machine might not even be turned on.  After Reggie accepts his proposal, we immediately see a montage of all Joshua's identities throughout the film -- suggesting that the embassy official is just another pose that Joshua will go through in order to get his hands on the money.  And Joshua's behavior throughout the movie is hardly consistent with that of a US government employee (although much of the rest of the movie is also implausible).  I'm suggesting that the movie deliberately leaves the answer to this question ambiguous.  Grover cleveland 04:35, 14 September 2006 (UTC)

 * Was it a dictation machine or an intercom? Clarityfiend 05:46, 27 September 2006 (UTC)

 * I can't remember: however there was no response -- perhaps Grant's character didn't even turn it on. Grover cleveland 06:18, 27 September 2006 (UTC)

Codswallop, the Marine clearly says Crookshank works for the treasury department and his secretary admits Reggie to his office. Gwen Gale 04:45, 30 November 2006 (UTC)

 * Gwen Gale is correct; Cruikshank does not work for the CIA but for the Treasury Department. It's not all that believable that the U.S. government would have Treasury Department officials carrying guns while stationed in Paris, but that's the ultimate premise of the movie. As Grover Cleveland mentions above, at the end of the film we see Cary Grant buzz his secretary and tell her to take a memo on improving security, and this is the "evidence" on which Reggie believes he actually works there and is not a thief, even though we never hear the secretary reply. It's a little flimsy but it's pretty clear that the filmmakers' intention was for the Cary Grant character and the Audrey Hepburn character to end up together, married, and live happily ever after; they did not intend to leave open the possibility that Cary Grant was somebody different. --Mathew5000 00:35, 31 March 2007 (UTC)

"spans several genres"?
The present version of the article states in the introduction: "It spans several genres including suspense thriller, romance, and comedy." The use of the word "including" implies that the movie belongs to other genres, not only those three. So what are they? Moreover, "romantic comedy" is really one genre -- at least it has become one, maybe in the 1960s the romantic comedy genre didn't exist; it's hard to tell from the article romantic comedy film. In any event, the word "several" suggests more than three. --Mathew5000 00:29, 31 March 2007 (UTC)

Fair use rationale for Image:Charade movieposter.jpg
Image:Charade movieposter.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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BetacommandBot (talk) 20:03, 13 February 2008 (UTC)

I removed this paragraph from the article's production section...
...because the ref didn't support the content (that I could find), but also because I literally couldn't understand what the paragraph is saying. If someone knows what it's supposed to say, please re-write it and restore."The movie was said to be an attempt by the studio to unite the popular stars onscreen. Grant had previously been offered a role opposite Hepburn in Roman Holiday, but had turned it down because he felt he was too old to play her love interest. The role eventually went to Gregory Peck. Grant finally agreed to take the role, but in order to play down the 25-year age difference between them, he insisted that Hepburn's character be made the aggressor in the relationship. The chemistry between Grant and Hepburn, as well as Grant's continuing success as a sex symbol despite his advanced age, have made many critics state that having Grant pursue Hepburn in Roman Holiday not only would have been plausible, it would have been even more perfect than the talented Peck in the role."Ed Fitzgerald t / c 02:11, 24 October 2008 (UTC)

GLAMMAZON'S REPLY
No, the film is still AT the Internet Archive and has NOT been deleted. — Preceding unsigned comment added by Glammazon (talk • contribs) 22:10, 22 January 2011 (UTC)

Spoiler
I didn't read the synopsis and didn't know Hamilton Bartholomew was the real Carson Dyle until the cast section ruined the twist for me. Somebody should edit out the spoiler. — Preceding unsigned comment added by 67.162.132.255 (talk) 07:10, 19 August 2012 (UTC)

Who is Adam?
In the bottom half of the synopsis a character named Adam is referred to. No explanation regarding who he is. — Preceding unsigned comment added by 2601:200:4200:5A40:C5E4:F2F4:3FA2:DD7E (talk) 01:15, 22 December 2019 (UTC)

 * Yes it is, read closer. You also need to learn how to sign your posts. Sweetpool50 (talk) 11:40, 22 December 2019 (UTC)

Copyright outside of the US
The article says "The film remains fully protected by copyright outside the U.S." with no citation. Today (Sep. 4 2021) Swiss TV started a series using this movie but changing the soundtrack, with the argument it was free of copyright. I assume their lawyers know what they are doing. https://www.rts.ch/play/tv/redirect/detail/12467094?startTime=1613 Pkoppenb (talk) 20:40, 4 September 2021 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 00:36, 12 November 2022 (UTC)
 * Charade (1963).webm

title: Talk:Charade (1963 film)


text:
Ohio State Route 126

State Route 126 (SR 126) is a state route starting at the Ohio-Indiana border, at a split with State Route 129 near Scipio, Ohio, and ending east of Cincinnati at an intersection with U.S. Route 50 in Milford. State Route 126 is locally known for comprising most of Ronald Reagan Cross County Highway.

History
Prior to the completion of Ronald Reagan Cross County Highway in 1997, the central portion of State Route 126 between Ross and Montgomery consisted of West Kemper Road, Springfield Pike (State Route 4), Glendale Milford Road, Kenwood Road, and Cooper Road. On October 28, 1997, the Ohio Department of Transportation (ODOT) took over Ronald Reagan Highway, except for the segment west of Colerain Avenue. State Route 126 was rerouted over the highway, while Kemper, Glendale Milford, Kenwood, and Cooper roads were returned to local authorities.

title: Ohio State Route 126


text:
User:Christopherc

Hi, I'm Chris.

title: User:Christopherc


text: User talk:68.99.205.9

title: User talk:68.99.205.9


text:
2nd Council of the Northwest Territories

The 2nd Council of the Northwest Territories, known formally as the Council of the Northwest Territories, was the governing body of Canada's Northwest Territories from 1905 to 1951. In 1905 when Alberta and Saskatchewan were carved out the Northwest Territories, there were too few enfranchised voters in the remaining area of the Territories to justify responsible government. The Northwest Territories reverted to 1870 constitutional status. Political parties and the position of Lieutenant Governor was abolished. The government came under the direct control of Ottawa.

Council history
In 1905 Frederick D. White was appointed the first commissioner of the Northwest Territories by Sir Wilfrid Laurier to oversee a four-man appointed council. No council was appointed until 1921, but provisions existed in law for four council seats. The Northwest Territories was instead run by the Department of Mines and Resources Canada and no legislation under territorial jurisdiction was passed or updated in this period.

In 1921 a deputy commissioner position was created and the first session of the council was convened in Ottawa. The first act of the council was to increase the number of members to six. The deputy commissioner position and a seat on the council were automatically given to the Director of Mines and Resources. All legislation during this council was created with the advice and guidance of the director. In essence the director was a de facto government leader, and held more power than the commissioner.

In 1939 a special administration district was created. This was a hybrid between an electoral district and a Senate division. It was not until 1947 when John G. McNiven would be appointed to represent the district. He would also be the first person living in the Northwest Territories since 1905 and the first person from the Arctic to sit on the council.

All other members of the council were from outside of the territories, and usually civil servants residing in Ottawa. This period of Northwest Territories history is generally regarded by the people of the Northwest Territories as a time of great neglect. The council during this period never had any sessions in the Territories, but members did travel occasionally to consult with municipal governments.

Commissioners during the 2nd Council
Note: 1Hugh Young continued to serve as commissioner after the sixth general election.

Deputy commissioners during the 2nd Council
Note: 1Frank Cunningham continued to serve as deputy commissioner after the sixth general election.

Deputy Commissioners also counted as regular members of the Northwest Territories council.

Members of the 2nd Council
Note:
 * Members during this period were appointed until the dissolution of the council in 1951, and vacancy only occurred on resignation or death.


text:
Talk:Stereo camera

36 cameras
'In 2011, a student from the Technical University of Berlin made a throwable ball with 36 fixed-focus 2 MP CMOS cameras. When the ball is thrown into the air and reaches the zenith (zero acceleration position, detected by an accelerometer), it simultaneously captures 36 images, together comprising a spherical panorama.[9]'

There is no evidence in the reference, or the more complete article it links to, that this has anything to do with the stereo cameras. It is designed to take true panorama images, not stereos, and there is no evidence of enough overlap to allow the production of stereoscopic images from the result. Unless someone comes up with a reference stating that it is designed to take stereo photos, this entire section will be deleted.

Why?
Why did someone remove the links to museum which shows stereo cameras?

My guess? Because they're in German. Someday I'll add English links. A2Kafir 18:13, 22 August 2005 (UTC)

Sample photos
How about some sample photos? I do not own any so I cannot put it up. —Preceding unsigned comment added by 203.84.187.110 (talk) 13:00, 11 July 2008 (UTC)

The general stereoscopy article is a more appropriate place for that, and there are some there.  John Alan Elson  ★  WF6I A.P.O.I. 00:10, 4 June 2014 (UTC)

Fuji W1 NOT FIRST!
I wouldn't want to curb anyone's enthusiasm for the Fuji W1, but it is definitely not the first digital stereo camera! There is, for example, the 3D VuCAM which is built into a pair of binoculars and has been out for several years. There is also the 3D Take 'n Vu and a few other devices which take both video and stills. Of course, all these are rather large and bulky so you could honestly say that it was the first compact digital stereo camera, or the first from a major manufacturer. Those statements would both be true. I'm giving you a chance to correct this before I do.

 * Let's not jump in to a flame war pre-emptively! I thought it was first, but now I've removed that claim. There is, however, a resurgence in 3D technology going on at the moment (starting in 2009), and explaining that to Wikipedia readers is valuable. --- Rixs (talk) 13:17, 16 January 2010 (UTC)

2 2D vs 1 3D camera
I heard that as of 2010, 3D film cameras are typically two 2D cameras mounted close together, but that a camera designed from the ground up to be 3D would be better. Has this since happened? Any examples? -- Beland (talk) 20:30, 2 June 2014 (UTC)

The Fuji W1/W3 was designed as 3D from the ground up, so were many other digital 3D cameras. It's kinda like the 50s cameras with two synchronized shutters and ganged controls, you have to produce two separate images somehow, much like your eyes do.

As for film cameras, there were very few commercially made stereo cameras after 1971, other than the multi image lenticulars there were some cameras with built in beam splitters and a few macro cameras for ultra closeups. The high quality stereo film cameras were mostly regular cameras stitched together.

The one notable exception was the Horseman, which featured a tiny 28mm baseline and cost $5000, at least $4500 more than it was worth. It was actually a reworked version of a mono camera that had been discontinued despite the false marketing claims that it was designed for stereo from the ground up. It was 7P format but the built in stereo window meant that subjects closer than 5 feet, for which its baseline was best suited, would need cropping down to 5P to properly adjust the stereo window. It was also designed to use slide film at a time that slide film had almost completely disappeared in regular retail outlets such as target, being available almost exclusively at camera stores and through mail order.  John Alan Elson  ★  WF6I A.P.O.I. 00:06, 4 June 2014 (UTC)

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title: Talk:Stereo camera


text:
2Mex

Alejandro Ocana (born 1973), better known by his stage name 2Mex, is a rapper from Los Angeles, California, United States. He is a member of The Visionaries and Of Mexican Descent. He has collaborated with underground hip hop artists such as Jel, Omid, Thavius Beck, Factor Chandelier, Radioinactive, and Isaiah "Ikey" Owens.

History
2Mex attended the Good Life Cafe open mic nights in 1992. In 1998, he released his first album with The Visionaries as well as the first Of Mexican Descent album, and he was featured on the Omid compilation album Beneath the Surface. In 1999, he was featured (with Xololanxinxo as Of Mexican Descent) on the Fat Jack compilation album Cater to the DJ, and he released his first solo album Fake It Till You Make It as The Mind Clouders with producer Mums the Word. In 2000, he was featured (as a member of the Afterlife Crew) on the Afterlife Records compilation Declaration of an Independent. He then released B-Boys in Occupied Mexico on Mean Street in 2001. Sweat Lodge Infinite was released on Temporary Whatever in 2003. The self-titled album, 2Mex, was released in 2004. He released My Fanbase Will Destroy You on Strange Famous Records in 2010. It features guest appearances from Murs, Prince Po, Busdriver and Nobody. In 2016, one of his legs was amputated due to complications from diabetes. He addressed the loss and other struggles in the 2017 album Lospital.

Solo
Studio albums
 * B-Boys in Occupied Mexico (Mean Street, 2001)
 * Sweat Lodge Infinite (Temporary Whatever, 2003)
 * 2Mex (Paladin Creative Super Co., 2004)
 * Over the Counter Culture (Up Above, 2005) (as SunGodSuns)
 * My Fanbase Will Destroy You (Strange Famous, 2010)
 * Lospital (Water the Plants, 2017)
 * Ghostwriting Songs for God (2021)

Mixtapes and EPs
 * Unreleased Hits (Memo, 1998) [mixtape]
 * Words. Knot Music. (Memo / Afterlife, 2000) [mixtape]
 * The Sweat (2002) [EP]
 * Knowhawk (Biofidelic / La2TheBay / Invisible Enemy, 2004) [mixtape]
 * Gloria Was a KROQer (Up Above, 2006) [EP]
 * Protect and Serve (2010) [mixtape]
 * Cartoon Boyfriend (2015) [mixtape]
 * Gentrification EP (2018) [EP]

Compilations
 * Essential 2Mex Road CD (2005)
 * New Wave Chola Road Mix (2006)
 * Singles: Volume One (2007)
 * Sound Hoarding Vol. 1 (2015)
 * Sound Hoarding Vol. 2 (2015)
 * Sound Hoarding Vol. 3 (2020)

Collaborations
Visionaries (2Mex with Dannu, DJ Rhettmatic, Key Kool, LMNO & Lord Zen)
 * Galleries (Up Above, 1998)
 * Sophomore Jinx (Up Above, 2000)
 * Pangaea (Up Above, 2004)
 * We Are the Ones (We've Been Waiting For) (Up Above, 2006)
 * Established 1995 (Up Above, 2007) [compilation]
 * V (2020)

Of Mexican Descent (2Mex with Xololanxinxo)
 * Exitos y mas exitos EP (1998) [EP]
 * Exitos y mas exitos (1998)
 * Of Mexican Descent (Demo 1992) (2020) [EP]

Look Daggers (2Mex with Isaiah Owens)
 * The Patience EP (2007) [EP]
 * Suffer in Style (2008)

Other collaborations
 * Fake It Until You Make It (1999) (with Mum's the Word, as The Mind Clouders)
 * Money Symbol Martyrs (2006) (with Life Rexall, as $martyr)
 * Break Up Your Make Up (2009) (with Deeskee, Die Young & Stacey Dee, as The Returners)
 * Blessing in Disguise (2010) (with Key Kool & LMNO)
 * Fallin' Angels (2011) (with Nobody, as SonGodSuns)
 * Like Farther... Like Sun... (2013) (with Maiselph)
 * Operation: Dark Winter December (2020) (with Anu322)

Guest appearances

 * Key-Kool & Rhettmatic – "Visionaries (Stop Actin' Scary)" from Kozmonautz (1995)
 * Nobody – "Shades of Orange" from Soulmates (2000)
 * Abstract Rude + Tribe Unique – "Frisbee" from P.A.I.N.T. (2001)
 * Existereo – "Morals" from Dirty Deeds & Dead Flowers (2001)
 * Jel vs. 2Mex – "D.I.Y. Partisan" (2002)
 * Busdriver & Radioinactive with Daedelus – "Barely Music" from The Weather (2003)
 * Dax, Neogen, Dert, Reconcile, Professor Who, Dokument, Chosen1, Griffin, Lazarus, Raphi, Drastic, Propaganda & Macho – "Remember This Day" from Underground Rise, Volume 1: Sunrise/Sunset (2003)
 * Omid – "Myth Behind the Man" from Monolith (2003)
 * Abstract Rude & Tribe Unique – "Flow and Tell" from Showtyme (2003)
 * Awol One – "Gagbuster" from Self Titled (2004)
 * Shape Shifters – "American Idle" from Was Here (2004)
 * Subtitle – "Crew Cut (for Sale)" from Young Dangerous Heart (2005)
 * Busdriver – "Sphinx's Coonery" from Fear of a Black Tangent (2005)
 * Ellay Khule – "Fading Rhythms" from Califormula (2006)
 * Prince Po – "Ask Me" from Prettyblack (2006)
 * Thavius Beck – "Dedicated to Difficulty" from Thru (2006)
 * Mestizo – "Back Wash" from Dream State (2007)
 * The Gigantics – "Don't" from Die Already (2008)
 * Expedyte feat Louis Logic, Phakt – "Sunny Daze" from Life (2008)
 * Ceschi – "Same Old Love Song" (2009)
 * Neila – "Mercy Refused" from Better Late Than Never (2009)
 * Factor Chandelier – "Mental Illness" from Lawson Graham (2010)
 * Radioinactive – "Mint Tea" from The Akashic Record (2013)
 * Self Provoked – "Trophies" from [The Propaganda] (2015)

title: 2Mex