text:
Frank Holmes (geologist)

Frank Holmes (1874 – January 1947), known affectionately by Arabs as "Abu Naft" (the Father of Oil), was a British-New Zealand mining engineer, geologist and oil concession hunter. Following distinguished service in World War I, he was granted the title of honorary Major and was thereafter known as Major Frank Holmes in his civilian life.

Early life and career
He was born in 1874 on at a remote work camp in New Zealand where his father was building a bridge. He attended Otago Boys' High School, Dunedin in 1888–89. At the age of 17, he was apprenticed to his uncle who was the general manager of a gold mine in southern Africa. For two decades, specialising in gold and tin, he worked as a mining engineer all over the world – Australia, China, Russia, Malaya, Mexico, Uruguay and Nigeria.

During World War I, he was a quartermaster in the British Army. In his efforts to source food and supplies for the British Army in Mesopotamia (today's Iraq), Holmes travelled widely through the Middle East and may have heard rumours of a possible oil seepage on the eastern seaboard of the Arabian peninsula. This, together with a close study of Admiralty maps of the area, appears to have triggered an abiding interest in oil in the region. By 1918, he was writing to his wife that "I personally believe that there will be developed an immense oil field running from Kuwait right down the mainland coast [of eastern Arabia]".

Arabia
In 1920, Holmes helped set up the Eastern and General Syndicate Ltd in London to develop, among other things, oil ventures in the Middle East. In 1922 he travelled to Arabia to discuss the possibility of an oil concession with Emir Ibn Saud, who ruled parts of the eastern peninsula. With Ibn Saud's permission, he carried out a survey over four weeks in the desert and returned to Hofuf with earth samples which he claimed bore traces of oil. In order to allay the suspicions of British officials, Holmes claimed that he was looking for a rare butterfly, the Black Admiral of Qatif, although this deception appears not to have been effective. At the Uqair conference later in the year, Holmes approached Ibn Saud with a view to finalising a concession document but the British High Commissioner, Sir Percy Cox, persuaded Ibn Saud not to sign. It was only when the British government ended Ibn Saud's annual stipend in 1923 that Ibn Saud considered himself free of British control and awarded a concession to Holmes for the region of al-Hasa. But when a subsequent survey was unfavourable, and a financially challenged Eastern and General Syndicate failed to find a bidder, the concession for al-Hasa was allowed to lapse. Holmes, nevertheless, still entertained hopes of finding oil on Bahrain and concentrated his efforts there.

In 1932 Holmes travelled to Jeddah, where negotiations for an oil concession were going between Ibn Saud, SOCAL and Iraq Petroleum Company (IPC) for a new concession for the al-Hasa province. When Ibn Saud's adviser, the former British colonial officer Harry St. John Philby, got wind of his arrival he attempted to deter Holmes from joining the negotiations by informing him that he was persona non grata in Jeddah and was remembered for the failure to exploit the first al-Hasa concession. There was also the matter of £6,000 rent owed to Ibn Saud. Holmes appeared undaunted. "Holmes does not seem to share the otherwise universally held belief that Ibn Saud regards him unfavourably," wrote the IPC representative, Stephen Hemsley Longrigg. In fact, Holmes probably had no intention of joining in but simply wanted to exclude the Neutral Zone between Saudi Arabia and Kuwait from the negotiations. After three days, during which time he met with Saudi finance minister Abdullah Suleiman, Holmes left Jeddah and took no part in the al-Hasa negotiations. The concession for al-Hasa (excluding the Neutral Zone) went to SOCAL. The company formed an operating company, the California Arabian Standard Oil Company (CASOC), joined forces with the Texas Oil Company and struck commercial oil at Dammam in March 1938. CASOC went on to become Aramco in 1944.

Bahrain
In 1923 he persuaded the sheikh of Bahrain to give him an oil concession in exchange for drilling water wells. Armed with a favourable geological report and rock samples, Holmes set out to interest a major oil company in drilling for oil in Bahrain. The Gulf Oil Company showed an interest but was constrained by the Red Line Agreement which prevented the company from drilling on Bahrain without the consent of their partners in the Iraq Petroleum Company (IPC). Their partners declined, so Gulf assigned its interest to Standard Oil of California (SOCAL) for $50,000. SOCAL went on to strike oil in June 1932.

Qatar
In 1925, reports came into the Anglo-Persian Oil Company that Holmes was showing an interest in Qatar. Holmes had visited the Qatari ruler, Sheikh Abdullah, in his desert tent. When the sheikh's hunting dogs entered the tent and Holmes was able to identify the pedigree of one, the sheikh was most impressed. "If this man can identify one dog among so many, surely he can identify where our oil is hidden," he said, declaring that Holmes was his choice for the Qatar oil concession. Holmes also presented the sheikh with a motor car. This prompted Anglo-Persian to send a survey party led by George Martin Lees to Qatar. There were no firm indications of oil, but when oil was struck on Bahrain, this and a favourable survey persuaded Anglo Persian to sign a concession agreement with the sheikh in 1935. Holmes, in the meantime, had found his energies taken up with oil negotiations in Kuwait.

Kuwait
Kuwait lay outside the Red Line Agreement, so Gulf Oil was free to negotiate for an oil concession there, represented by Frank Holmes. When representatives of their rivals, Anglo-Persian, first attempted to negotiate with the Emir of Kuwait, Sheikh Ahmad al-Jaber al-Sabah, they found that Holmes was well ensconced with the Sheikh with the result that the company appointed William Richard Williamson to counter Holmes' influence. Eventually, Anglo-Persian decided to join forces with Holmes, and together they created a 50–50 venture, the Kuwait Oil Company. On 23 December 1934 Sheikh Ahmad signed an oil concession (covering the entire 15,800 square km of Kuwait for 75 years) to this new company and appointed Major Holmes as his representative in London. Oil was struck in Kuwait in February 1938.

Trucial Coast
In 1937, Holmes was instructed by Petroleum Concessions Ltd – an associate company of IPC – to complete oil concession agreements with the sheikhs of the Trucial Coast and the ruler of Oman but he proved dilatory and had to be relieved through ill-health. "I am sure that if Holmes comes to the Gulf there will be the usual atmosphere of confusion and intrigue which he creates wherever he goes and which sooner or later gives us much unnecessary trouble," wrote the British Political Resident from Bahrain, reflecting a widespread suspicion among British officials that Holmes was a threat to their country's interests in the Persian Gulf. To another official, he was simply "a rover in the world of oil".

Achievements
Described as being "of powerful physique, of blunt speech and great strength of character", Holmes possessed qualities of charm and generosity that won him the admiration of Arabs across the region. He was also able to invoke dreams of wealth among the many impoverished sheikhs of the Arabian peninsula. Although not a trained petroleum geologist, he relied on a knowledge of geology gained as a mining engineer and a certain intuition (what Holmes described as his "nose for oil" ) to locate areas where oil might be found. In the event, at a time when established opinion was generally pessimistic about finding oil in Arabia, Holmes' predictions were remarkably accurate. It is for these reasons that he earned from Arabs the sobriquet "Abu Naft", or the Father of Oil.

Death and legacy
After a short illness, Frank Holmes died of a heart attack in January 1947. In 2003, he was posthumously inducted into the New Zealand Business Hall of Fame.

title: Frank Holmes (geologist)


text:
File:Save the Green Planet Poster.jpg

Summary

 * Description: Theatrical poster for Save the Green Planet!
 * Source: Daum (resized)
 * Copyright: © 2003 CJ Entertainment

Rationale for fair use in Save the Green Planet!
It is believed that this image satisfies Wikipedia's non-free content criteria because:

 * 1) No free equivalent exists or could be created that would serve the same enyclopedic purpose.
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 * 3) No duplicate or similar fair use images exist on Wikipedia that would serve the same purpose. The image is of low resolution and not larger than 300px on at least one of its dimensions, per guidelines at MOS:FILM.
 * 4) The image has been previously published outside Wikipedia (see the named source above).
 * 5) The image meets general Wikipedia content requirements and is encyclopedic.
 * 6) The image meets the requirements of WP:IUP.
 * 7) The image is used in at least one article, i.e. the article linked in the section heading above.
 * 8) The presence of this image is significant because it provides visual identification for the subject of the named article.
 * 9) The image is not being used in a disambiguation page or outside the article namespace.
 * 10) The summary above names the source of the image and also the copyright holder. The applicable copyright tag is included below. The name of the article for which this rationale applies is linked in the section heading above.

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

title: File:Save the Green Planet Poster.jpg


text: User talk:69.193.44.60

title: User talk:69.193.44.60


text:
Royal Army Physical Training Corps

The Royal Army Physical Training Corps (RAPTC) is the British Army corps responsible for physical fitness and physical education and has been headquartered in Aldershot since its foundation in 1860. Its members are all Royal Army Physical Training Corps Instructors (RAPTCIs).

History
During the Crimean War about 27,000 British troops died - the majority not as a result of wounds in battle but of disease. Investigations after the War concluded that so many had died because of their poor physical condition, resulting in their inability to fight off the effects of the diseases. In 1860 a number of military reforms began, including an investigation of methods of improving the physical fitness of soldiers in the Army. In 1859 the War Office sent Colonel Frederick William Hamilton and Dr. Thomas Galbraith Logan, the Inspector General of Hospitals, to France and Prussia to report on the physical training systems in the armies in those countries. Their report stated that the French army had had a gymnastic physical training regime since the 1840s, with a central gymnastics training school founded in 1852; while the Prussian army had introduced military gymnastics training in 1842. Hamilton firmly advised that the War Office should institute a similar system of gymnastics training for the British Army. Major Frederick Hammersley and twelve carefully selected non-commissioned officers (NCOs) (who later became known as the Twelve Apostles) were put through a twelve month course of physical training in Oxford under the PT specialist and educator Archibald MacLaren (1820–1884) who had trained in Europe and who in 1858 had opened a renowned gymnasium at the University of Oxford where he taught fencing and gymnastics. MacLaren used the techniques he had developed in his gymnasium, charting the physical changes in the men with each of the NCO's being photographed before and after their training and regularly measured to check their development. On completing the course it was apparent that each man's physical fitness had considerably improved and they became the foundation of what was to be called the Army Gymnastic Staff (AGS). In 1861 a gymnasium was built at Aldershot based on MacLaren's Oxford Gymnasium. Members of the AGS were based at the newly built military gymnasiums where they trained soldiers in the new physical training techniques. Other members of the AGS joined Army units where they trained soldiers in fencing, gymnastics and other elements of physical training in addition to organising recreational sporting activities. As a result of the new exercise regime the sickness and mortality rates in the British Army decreased and the reforms were approved in the 1864 Report on Gymnastic Instruction in the Army.

The Army Gymnastic Staff was renamed the Army Physical Training Staff in 1918 and was given corps status as the Army Physical Training Corps by Army Order 165 in 1940.

Notable former Army Physical Training Instructors include Nik Stuart, a former National Gymnastic Coach, and Olympic medallists Kriss Akabusi and Kelly Holmes.

At the Festival of Remembrance on 13 November 2010, Huw Edwards announced that the Army Physical Training Corps had been granted the title Royal Army Physical Training Corps by Her Majesty the Queen. This became effective immediately.

Characteristics
The corps cap badge, which is also worn on the front of its vests, t-shirts and tracksuits, consists of crossed swords surmounted by a crown. The corps motto is Mens sana in corpore sano which means 'a healthy mind in a healthy body'. Its quick march is Be Fit, with words taken from Land and Sea Tales by Rudyard Kipling.

It is not possible to join the RAPTC directly from civilian life. Prospective PTIs must first join another regiment or corps and then qualify as Regimental All Arms Physical Training Instructor (AAPTI) after an eight-week course at the ASPT. They then return to their own unit and only after further experience can they attend selection for the RAPTC. If they pass the selection course they follow a 30-week training course before qualifying as Advanced PTIs and transferring to the RAPTC as an RAPTCI.

title: Royal Army Physical Training Corps


text:
Diecast (band)

Diecast is an American metalcore band originating from Boston, Massachusetts, formed in 1997. They play a style of metalcore with a "blend of melody and heavy rock."

History
Formed in Boston in 1997, Diecast was originally established as a four-piece group featuring vocalist Colin Schleifer, guitarist Nassim Rizvi, bassist Jeremy Wooden, and drummer Jason Costa. The band's first release Perpetual War was recorded by Brian McTiernan (of Salad Days fame) and released independently in 1997. The demo was recorded to cassette and is now a collectors item.

In 1998, the band released their debut LP Undo the Wicked via Samson Records. The album marked the first recording of the band as a five-piece line-up with the addition of guitarist Dave McGuire who was replaced just after the Samson Records release with guitarist Mehdy Rad who had been involved with a pre-Diecast version of the band.

After the departure of guitarist and founding member Nassim Rizvi, his position was temporarily filled by a number of friends of the band including Buz McGrath and Ken Susi of the band Unearth. Jonathan Kita would be named the permanent replacement on lead guitar in February 1999.

The band recorded a self-funded and self-distributed CD sampler with Dean Bartolonis which included early versions of songs "Solace" and "Disrepair" with Colin Schleifer, Jeremy Wooden, Jason Costa, Mehdy Rad, and Jon Kita. The band toured the east coast of the US and Canada non-stop for the next year.

Amid the buzz surrounding Undo the Wicked, the band signed with New Jersey-based record label Now or Never Records. Diecast recorded their second full-length album, Day of Reckoning with producer Paul Trust in Florida during the summer of 2000, then embarked on a tour with Stretch Arm Strong, One King Down and Shai Hulud. Guitarist Mehdy Rad left shortly before tour and was replaced by Jonathan Kita; halfway through the tour, second guitarist Jimmy Bonasoro left and was replaced by Richard Thurston (formerly of Timescape Zero, Culture, and Blood Has Been Shed). Day of Reckoning was eventually released on February 13, 2001, and the band recruited guitarist Kirk Kolaitis from Brockton-based band Punch the Klown. The band embarked on a number of tours across the United States, supporting such bands as All Out War, Dying Fetus, Napalm Death - as well as opening for world-renowned acts Alice Cooper and The Cult.

In the spring of 2002, Diecast secured the opening slot for the Slayer "God Hates Us All" tour. Upon completion of the tour, the band decided to focus their attention towards a new album. Faced with record label issues, and dissension internally about the musical direction they should take, the recording phase for their third full-length album was halted. At this point founding member and vocalist Colin Schleifer left the group in May 2003 to pursue other interests, and was replaced by vocalist Paul Stoddard.

Diecast inked a new record deal with recognized independent metal label, Century Media Records in 2004 and went into the studio again with producer Paul Trust. The band then released their third full-length album Tearing Down Your Blue Skies on October 19, 2004. An excerpt of the track "Rise and Oppose" was licensed by Volkswagen Automotive and used in an advertisement for the Volkswagen Jetta. The album was re-released by Century Media in 2006 with a foreword written by Colin Schleifer, and three bonus tracks including a cover of Raining Blood by Slayer. The three tracks were produced by Zeuss (Shadows Fall, Hatebreed), and were added to the re-release along with extras.

Founding member and drummer Jason Costa departed the band during their early 2006 tour. Dennis Pavia formerly of Tantrumn volunteered to fill in and then eventually became a full-time member.

On May 16, 2006, vocalist Paul Stoddard announced that in addition to Jason Costa no longer being part of the band, bassist Jeremy Wooden, the only original remaining member, had decided to depart as well. Brad Horion was named as his replacement.

The band's fourth full-length album Internal Revolution was released on September 19, 2006, and features the single "Fade Away." It was again recorded in Miami and produced by Trust. A companion video was directed by David Brodsky. The album shifted 1,246 copies in its first week according to Nielsen SoundScan. They released a new song on their MySpace page entitled "Disconnect" as well as a second song, "Sanctified" on a sponsor's MySpace page. In November 2008 the band released a press statement announcing they had parted ways with label Century Media. In addition the band shopped a 4 song demo to other labels with hopes to release a new album which never materialized. In addition to shopping new labels in late 2008, bassist Eddie Barton joined the band as a full-time replacement for Brad Horion.

In August 2012, the band began recording its fifth studio album. In December 2013, it was announced that recording of the album was on hold due to financial issues. In February 2014, it was announced that recording of the album would continue, and that it would be released in the spring or summer. In April 2014, it was announced that the album release was pushed back to 2015. In January 2016, the band stated they would continue recording the album at Conclave Studios in New York. In March 2021, the band revealed they were in contact for the first time since 2017 and alluded to be still working on their long-awaited album. Guitarist Tyler Stroetzel was absent from the announcement, implying he is no longer in the band.

On October 24, 2022, vocalist Paul Stoddard died. His cause of death was revealed as pulmonary hypertension.

Current members

 * Jonathan Kita – lead guitar (1999–present)
 * Dennis Pavia – drums (2006–present)
 * Eddie Barton – bass (2008–present)

Former members

 * Jeremy Wooden – bass (1997–2006)
 * Jason Costa – drums (1997–2006)
 * Colin Schleifer – vocals (1997–2003)
 * Nassim Rizvi – lead guitar (1997)
 * Mehdy Rad – lead guitar (1997–1998)
 * Dave McGuire – rhythm guitar (1998–1999)
 * Jimmy Bonasoro – rhythm guitar (1999–2000)
 * Richard Thurston – rhythm guitar (2000)
 * Kirk Kolaitis – rhythm guitar (2000–2011)
 * Paul Stoddard – vocals (2003–2022) (died 2022)
 * Brad Horion – bass (2006–2008)
 * Tyler Stroetzel – rhythm guitar (2013–2021)

Live members

 * Buz McGrath – guitar (1998)
 * Brian Silvia – bass (2006)
 * Rob Laurion – bass (2007)
 * Rob Spampinato – guitar (2011)

Studio albums

 * Undo the Wicked (1998)
 * Day of Reckoning (2001)
 * Tearing Down Your Blue Skies (2004)
 * Internal Revolution (2006)

Demos

 * Perpetual War (1997)
 * Sampler (1999)

title: Diecast (band)


text:
Transaction Capabilities Application Part

Transaction Capabilities Application Part, from ITU-T recommendations Q.771-Q.775 or ANSI T1.114 is a protocol for Signalling System 7 networks. Its primary purpose is to facilitate multiple concurrent dialogs between the same sub-systems on the same machines, using Transaction IDs to differentiate these, similar to the way TCP ports facilitate multiplexing connections between the same IP addresses on the Internet.

TCAP uses ASN.1 BER encoding, as well as the protocols it encapsulates, namely MAP in mobile phone networks or INAP in Intelligent Networks.

Overview
TCAP messages are sent over the wire between machines. TCAP primitives are sent between the application and the local TCAP stack. All TCAP messages are primitives but there are primitives that are not messages. In other words, some are only transferred inside the local machine. A TCAP primitive is made up of one or more TCAP components.

An ITU-T TCAP primitive may be one of the following types:

A Begin primitive has an Originating Transaction ID (up to 4 bytes). A Continue primitive has an Originating Transaction ID and a Destination Transaction ID. End and Abort primitives only have a Destination Transaction ID. Each primitive has both an optional component and (optional) dialogue portions. The component portion for the unidirectional primitive is mandatory.

The dialogue portion carries dialogue or unidialogue control PDUs. For MAP and INAP, dialogue PDU is used which performs establishment and release of dialogues for the application context provided in the primitives. Following primitives are defined for the dialogue PDU:

Each ITU-T TCAP component may be one of the following types:

Invoke components have a signed 7 bit InvokeID which is present in all the other components to identify which invoke they relate to.

TCAP is based on the OSI defined ROSE, Remote Operations Services Element protocol.

Transaction ID
The transaction ID is a TCAP reference for a set of TCAP operations that are performed within a single dialog. When machine A starts a TCAP dialog with another machine B, A sends a Begin message to B. This Begin message contains an Originating Transaction ID, which is the Transaction ID reference for A. When machine B replies to A with a Continue message, it includes A's Transaction ID as the Destination Transaction ID. Furthermore, B includes its own Transaction ID as the Originating Transaction ID.

As the TCAP dialog goes on, each Continue message includes the Transaction ID of the destination machine as the Destination Transaction ID and the Transaction ID of the originating machine as the Originating Transaction ID. When either machine wants to close the dialog, it sends an End message or an Abort message to the other machine. This message contains the Destination Transaction ID only.

Invoke ID
Invoke ID is a TCAP reference for a specific TCAP operation and must be unique within a dialog.

Decoded TCAP Message
This is a MO-SMS sent by a MAP layer and the hex stream is taken from TCAP layer.

62 74 48 04 00 02 00 30 6B 1A 28 18 06 07 00 11 86 05 01 01 01 A0 0D 60 0B A1 09 06 07 04 00 00 01 00 19 02 6C 50 A1 4E 02 01 01 02 01 2E 30 46 80 05 70 31 42 44 44 84 06 A1 70 91 92 55 55 04 35 2F 09 00 70 97 92 62 23 04 00 90 20 11 80 01 24 00 27 43 50 7A 0E A2 A3 CB 20 71 79 4E 07 B1  C3 EE 73 3D 7C 2E 83 D2 20 74 D8 5E 06 95 ED 65 39 68 5E 2E BB 01 00

According to tag length values, this can be decoded as below. '--> 62|74 <- Start of Tcap begin message |             '--> 48|04:00 02 00 30    <- Transaction ID |             '--> 6B|1A   <- Start of Dialog  portion |                    '--> 28|18                            |                            '--> 06|07:00 11 86 05 01 01 01                             |                            '--> A0|0D |                                  '--> 60|0B |                                         '--> A1|09 |                                                '--> 06|07:04 00 00 01 00 19 02   <- Application context |             '--> 6C|50     <- Start of component portion |                    '--> A1|4E |                           '--> 02|01:01    <- Component Id (invoke id) |                           '--> 02|01:2E    <- Operation Code |                           '--> 30|46       <- Start of parameter buffer |                                  '--> 80|05:70 31 42 44 44        <- SM-RP-DA(BCD) |                                  '--> 84|06:A1 70 91 92 55 55     <- SM-RP-OA(BCD) |                                  '--> 04|35:2F 09 00 70 97 92 62 23 04 00 90 20 11 80 01 24 00 27 43 50 7A 0E A2 A3 CB 20 71 79 4E 07 B1 C3 EE 73 3D 7C 2E 83 D2 20 74 D8 5E 06 95 ED 65 39 68 5E 2E BB 01   <- SM-RP-UI


text:
Talk:Doris Lessing

Salisbury
The article says she moved to Salisbury, England, but I think it should be Salisbury (todays Harare in Zimbabwe), and she moved directly to London, England later. I could have corrected it myself, but unsure if it should state Zimbabwe since it happended in 1937. Would it be more correct to write Rhodesia or Southern Rhodesia? 178.232.40.196 (talk) 11:37, 5 November 2023 (UTC)

 * I corrected this myself as I discovered that I could do that Kihalv (talk) 12:16, 5 November 2023 (UTC)

title: Talk:Doris Lessing


text:
Save the Green Planet!

Save the Green Planet! (Korean title: 지구를 지켜라!, Jigureul Jikyeora!) is a South Korean science fiction comedy film written and directed by Jang Joon-hwan, released on 4 April 2003. The basic story begins when the main character, Lee Byeong-gu, kidnaps another man, convinced that the latter is an alien.

Plot
Byeong-gu, a childish man who believes that aliens from Andromeda PK 45 are about to attack Earth, is sure that he is the only one who can prevent them. With his childlike circus-performer girlfriend Su-ni, he kidnaps a powerful pharmaceutical executive, Kang Man-shik, whom he believes to be a top ranking extraterrestrial able to contact the Andromedan prince during the upcoming eclipse. After imprisoning the man in his basement workshop, Byeong-gu proceeds to torture him (he initially attempts to nullify the alien's transmitters using a Korean liquid painkiller, mulpad, which contains chlorpheniramine maleate and a "Italy towel" used by korean Ttaemiris.)

It soon seemingly appears that the executive's company poisoned Byeong-gu's mother in a pharmaceuticals test, and that it is in a vengeance fueled psychosis that causes Byeong-gu to believe the executive is an alien; not just childishly delusional, he also is clinically insane and hateful despite his happy “Earth savior” demeanor and loving relationship with Su-ni.

When a detective comes calling to investigate the disappearance of Man-shik, the executive tries to escape but is thwarted by Byeong-gu. The detective at first finds nothing unusual thanks to Byeong-gu’s attempts to hide his involvement, but on his way out sees Byeong-gu's dog (appropriately named Earth) gnawing on the leg bones of his master's past victims. After contacting a partner in the police force he is killed by Byeong-gu's pet bees, then hacked up and fed to the dog. Byeong-gu then crucifies the executive and breaks his leg with the back of his axe to punish him for his attempted escape. In a desperate move, the executive convinces Byeong-gu that the bottle of benzene in his car trunk is the antidote for his comatose mother.

As Byeong-gu races to the hospital to deliver the antidote, the executive frees himself by pulling his hands through the nails. He then travels deeper into his captor’s lair, finding evidence of his grim research. Photos of mutilated corpses are littered with blood scrawled notebooks, while hands and brains of past ‘subjects’ reside in jars. Reading through the journals, the executive discovers Byeong-gu's traumatic past: his father was a coal miner who lost one of his arms due to his dangerous work and was killed by his wife when he attempted to attack her and his son. The child was beaten in school and was a victim of the sadistic whims of his cruel teachers. He showed early signs of violence, such as stabbing a fellow school mate with a kitchen knife. His mother was then poisoned in the aforementioned incident and at a protest his former girlfriend was beaten to death. He slowly went mad from the violence that surrounded him. The child would grow up to be Byeong-gu.

As this is happening, the dead detective's partner arrives and finds the frantic executive. And Byeong-gu, after desperately rushing to the hospital to give the 'antidote' to his comatose mother, killing her, becomes ever more enraged. He returns home to kill the alien, only to find the detective there as well. After a brief struggle and a bizarre turn of events, he captures both of them and plans on killing them both. The frantic executive then admits to being an alien and proceeds to spin an outlandish tale which stretches back to the time of the dinosaurs (the story heavily inspired from the biblical story and parodies scenes from 2001: A Space Odyssey), about how his race was originally trying to save humanity from a suicide gene (that leads to killing a member of their own species) by experimenting on the genetic code of his mother. He also agrees (while realizing the story might be based on the alien research notes he read about), in what appears to be a time-buying move, to contact the alien prince at the pharmaceutical company factory.

Byeong-gu leaves the detective all his notes, saying that if he does not make it, he will have the responsibility of saving the planet. At the factory, the executive triggers a computer controlled robotic arm to kill Su-ni, and after a long struggle, he beats his captor almost to death. When the police arrive, they shoot Byeong-gu, and as he bleeds to death he wonders aloud, "Now who will save the earth?"

When the aliens, who were real all along, do arrive and beam up the executive aboard their ship, we learn he is in fact the alien king himself. Disgusted and angered by the torture and corruption and evils of the world, he deems Earth a failed experiment and blasts it from creation. As the credits roll still photographs recap the entire journey of Byeong-gu's life, focusing instead on the beautiful, happy moments of a young boy and man with his father and mother and Su-ni.

Production
Jang first conceived of the idea for Save the Green Planet! while watching the film Misery. He enjoyed it, but was disappointed with the lack of depth of the Annie Wilkes character, and accordingly decided that if he made a film about a kidnapping, it would be staged from the point of view of the kidnapper. Later, Jang stumbled across a crank website accusing actor Leonardo DiCaprio of being an alien who wanted to conquer Earth by seducing all of its women, and he decided to combine the two concepts.

Remake
In May 2020, it was announced that CJ Entertainment would be producing an English-language remake of the cult film with film-making duo Ari Aster and Lars Knudsen, whose credits include Midsommar and Hereditary. In February 2024, it was reported that Yorgos Lanthimos was set to direct the remake, with Aster producing alongside Ed Guiney and Andrew Lowe from Element Pictures. In May 2024, Focus Features acquired all rights outside South Korea to the project, which had since been retitled to Bugonia, starring Emma Stone and Jesse Plemons. In June that year, it was announced that the film would be aimed for a November 2025 release.

Awards and nominations

 * Blue Dragon Film Awards
 * Best Supporting Actor: Baek Yoon-sik
 * Best New Director: Jang Joon-hwan

 * Brussels International Fantastic Film Festival
 * Golden Raven Award

 * Buenos Aires International Festival of Independent Cinema
 * Best Actress: Hwang Jeong-min
 * ADF Cinematography Award

 * Director's Cut Awards
 * Best New Director: Jang Joon-hwan

 * Grand Bell Awards
 * Best Supporting Actor: Baek Yoon-sik
 * Best New Director: Jang Joon-hwan
 * Best Sound

 * Korean Film Awards
 * Best Supporting Actor: Baek Yoon-sik
 * Best New Director: Jang Joon-hwan

 * 25th Moscow International Film Festival
 * Nomination - Golden Saint George
 * Silver Saint George

 * Puchon International Fantastic Film Festival
 * Best of Puchon

 * Busan Film Critics Awards
 * Best Film
 * Best Actor: Shin Ha-kyun
 * Best New Director: Jang Joon-hwan

 * International Film Festival Rotterdam
 * KNF Award Special Mention

title: Save the Green Planet!


text:
Derry v Peek

Derry v Peek [1889] UKHL 1 is a case on English contract law, fraudulent misstatement, and the tort of deceit.

Derry v Peek established a 3-part test for fraudulent misrepresentation, whereby the defendant is fraudulent if he:
 * (i) knows the statement to be false, or
 * (ii) does not believe in the statement, or
 * (iii) is reckless as to its truth.

The House of Lords determined that, when issuing a prospectus, a company has as no general duty to use "care and skill" in to avoid making misstatements. This point is no longer good law in cases where economic loss flows from non-fraudulent misstatements. Within company law, this case has been qualified by statute, codified today in the Companies Act 2006, which now recognises the fundamental importance of full disclosure in securities markets, to avoid financial crises.

Facts
The Plymouth, Devonport and District Tramways company issued a prospectus stating that the company had permission to use steam trams, In fact, the company had no such permission because the right to use steam power was subject to the Board of Trade's consent. The company applied, honestly believing that they would get permission because it was a mere formality. In reality, after the prospectus was issued, permission was refused and the company ended up in liquidation.

Led by Sir Henry Peek, shareholders who had purchased their stakes in the company on the faith of the statement sued the directors in misrepresentation.

Judgement
The House of Lords held that the shareholders' action failed because it was not proved that the director lacked honest belief in what they had said. Lord Herschell, however, pointed out that although unreasonableness of the grounds of belief is not deceitful, it is evidence from which deceit may be inferred. There are many cases,

"'where the fact that an alleged belief was destitute of all reasonable foundation would suffice of itself to convince the court that it was not really entertained, and that the representation was a fraudulent one.'"

Significance
The tort of deceit would have been established only if the misstatements had been fraudulently made. Derry v Peek thus validated the perspective of the majority judges in the Court of Appeal in Heaven v Pender. That is, for there to be deceit or fraud (which is the same) it must be shown that a defendant (i) knows a statement is untrue, or (ii) has no belief in its truth, or (iii) is reckless as to whether it is true or false.

Derry v Peek also outlined that no duty would be required in relationship to non-fraudulent misrepresentation, without the presence of a contract, a fiduciary relationship, fraud or deceit; but this was later overruled in Hedley Byrne v Heller.

The finding of fact that the directors "had an honest belief in the statement" runs contrary to the evidence that although they expected to get planning permission as a mere formality, they plainly knew that they did not yet have that permission.

title: Derry v Peek


text:
Gary Valenciano

Edgardo Jose "Gary" Santiago Valenciano (born August 6, 1964) is a Filipino singer. Known for his musical versatility and performances, he is a recipient of various accolades, including 12 Awit Awards, 3 FAMAS Awards and the Myx Magna Award.

Valenciano began his career in 1984 with the release of his self-titled debut album. In the succeeding years, he has ventured on screen, with appearances on several films and television shows. He has performed alongside artists such as Brian McKnight, George Duke, Paul Jackson Jr., Michael Shapiro, Ricky Martin, Cliff Richard, Leon Patilo, Michael W. Smith, Sandi Patti, Steven Curtis Chapman, and Kool & the Gang. Outside of music, Valenciano's philanthropy is focused on hope, faith, and positive change; having been appointed as the first UNICEF National Ambassador for 25 years.

Valenciano was chosen by the Doha Asian Games Olympic Committee as the official interpreter of the anthem titled "Heart of the Games" at the 15th Asian Games in Qatar. He was also invited as one of the performers at the 23rd Asian Television Awards in Malaysia. He is currently part of ABS-CBN's contract artists and one of the mainstay hosts of ASAP.

Early life and education
Edgardo Jose Santiago Valenciano was born in the Santa Mesa district of the City of Manila on August 6, 1964. He is the sixth of the seven children of Vicente Calacas Valenciano, a Bicolano from Camalig, Albay, and Grimilda Santiago y Olmo (1934–2019) from Arecibo, Puerto Rico. His parents met in New York City, married, and settled in Manila. His mother is a Puerto Rican of Italian descent who sang opera in Manila during the 1960s. Valenciano attended primary and secondary school in La Salle Green Hills, and was a part of the Kundirana.

Career
In 1978, at 14 years old, Valenciano made his first television appearance in an advertisement for Fress Gusto, a now-discontinued soft drink sold by San Miguel Corporation.

He started as a choir singer, then launched his career in singing and show business on May 13, 1983. He first appeared as a solo artist in 1982 in the television programme The Pilita and Jackie Show, and later in Germspesyal and Penthouse Live.

He had his first solo concert in April 1984 at the Araneta Coliseum, followed by a number of albums. Three of his albums were released internationally, including the Christian-inspired album Out of the Dark. He won the Awit Award twelve times in the "Best Male Recording" category alone. He has been called "Mr. Pure Energy" due to his high energy dance performances in concerts.

As an actor, he won the "Best Single Performance by an Actor" trophy when he performed in a drama television movie for GMA Network in the '90s. He has appeared in 14 full-length films as the lead actor for some of the top movie companies like Viva Films, Regal Films, Seiko Films, and Star Cinema, with leading ladies like Vilma Santos, Maricel Soriano, Lorna Tolentino, Kris Aquino, Sharon Cuneta, Gretchen Barretto, Princess Punzalan, and Ms. Universe 1993 Dayanara Torres.

As an inspirational artist, he recorded a number of Christian albums and was chosen to do a music video for the Billy Graham Evangelistic Association (BGEA) for a song he co-wrote, "Could You Be Messiah," in 1994. He was then tapped for Global Mission in Puerto Rico in 1994 where he performed with Michael W. Smith and Steve Green. BGEA tapped him as well as in Amsterdam 2000 where he performed for over 10,500 evangelists. He is a member of the Board of Trustees of Christian Broadcasting Network, producers of The 700 Club. He performed at the 50th anniversary of CBN in Virginia Beach and has guested on The 700 Club USA many times.

As a performing artist, he was called the "Michael Jackson of the Philippines" in the '80s and '90s, and continues to hold concerts all over the world. He has sold-out venues and theatres in the Philippines and all over the world, performing in venues like the Shrine Auditorium and Microsoft Theater in California, the Roy Thompson Hall in Canada, the Budokhan Hall in Japan, the Navy Pier in Chicago, and the Sydney Entertainment Center and Hillsong Auditorium in Australia. He has performed all over the world, including in the United States, Canada, Hong Kong, Japan, Korea, China, Malaysia, Thailand, Indonesia, Singapore, Brunei, Taiwan, Papua New Guinea, New Zealand, Australia, Israel, Puerto Rico, Saudi Arabia, Dubai, Bahrain, Abu Dhabi, Al Ain, Oman, Qatar, France, United Kingdom, Finland, Norway, Ireland, Germany, Spain, Switzerland, Italy, and Amsterdam.

In 1998, he became UNICEF Philippines' first National Ambassador. In 2006, the Doha Asian Games Organising Committee has named Gary Valenciano the official performer of the Asian Games' theme song, "Side By Side". In 2008, he marked his tenth year as a UNICEF Ambassador with a visit to Sitio Avocado, a former war zone in Negros Oriental.

Valenciano returned to acting in 2008 by appearing in the drama anthology Maalaala Mo Kaya, where he portrayed a prisoner who finds religion and becomes a born again Christian. That same year, he was nominated for "Best Single Performance by an Actor" in the 22nd PMPC Star Awards for TV.

In 2009, Valenciano released a collaborative album with Martin Nievera called As 1, with the carrier single of the same title.

In 2010, Valenciano was in a Holy Week drama special, Gulong ("Wheel"), a CBN Asia production shown on GMA.

For his 25th anniversary in 2008, STAR RECORDS, the music arm of ABS-CBN, released GV 25, a compilation of songs he composed and recorded sung by music stars of the Philippines like Sharon Cuneta, Rachel Ann Go, Martin Nievera, Piolo Pascual, Jed Madela, Erik Santos, and Christian Bautista.

For his 30th anniversary in 2013, his concert ARISE, which was originally staged at the Araneta Coliseum for two nights and restaged at the MOA ARENA to a jam-packed audience, won as PMPC's Best Concert of the Year. His album With You won the Best Inspirational Album for the same year at the Catholic Mass Media Awards.

Philanthropy
Valenciano formed the Shining Light Foundation in 1989, focusing on supporting diabetics and a scholarship program that has produced many multi-awarded scholars and students.

Personal life
Valenciano married Maria Anna Elizabeth "Angeli" Pangilinan, the sister of former senator Francis Pangilinan, on August 6, 1984. Together, they have three children: Paolo Valenciano, a director and the vocalist of the band Salamin; Gabriel Valenciano, a singer, keyboardist, dancer, and director; and Kiana Valenciano, a model and singer-songwriter. The family resides in Antipolo.

He is currently living with type 1 diabetes, and has been an endorser for several wellness products related to the condition. In May 2018, Valenciano started feeling ill after a performance with his son Gabriel for the celebration of his 35th anniversary in showbiz in ABS-CBN's top-rating Sunday afternoon show, ASAP, and had to undergo open heart surgery due to blockage of his left anterior descending artery caused by his diabetes. The procedure was successfully performed on May 6, 2018, and he was released from the hospital by May 12.

On April 17, 2019, Valenciano's mother died in Orlando, Florida, after battling pneumonia, congestive heart failure, and H1N1 flu.

FAMAS

 * 1988|| Ibulong mo sa Diyos ||Best Theme Song|| Won
 * 1995|| Sana Maulit Muli ||Best Theme Song|| Won
 * 2000|| || Dr. Ciriaco Santiago Memorial Award || Won
 * 2006|| "Ikaw Lamang" for the movie Dubai ||Best Theme Song|| Won
 * }
 * 2000|| || Dr. Ciriaco Santiago Memorial Award || Won
 * 2006|| "Ikaw Lamang" for the movie Dubai ||Best Theme Song|| Won
 * }
 * }

Golden Screen TV Awards

 * 2006|| Ikaw Lamang || Best Theme Song||Won
 * 2011|| ASAP Rocks || Outstanding Male Host in a Musical or Variety Program||
 * 2013|| I Do Bidoo Bidoo: Heto nAPO Sila! || Best Performance by an Actor in a Lead Role-Musical or Comedy||
 * }
 * 2013|| I Do Bidoo Bidoo: Heto nAPO Sila! || Best Performance by an Actor in a Lead Role-Musical or Comedy||
 * }
 * }

Other accolades

 * First artist in the world to have a Sennheiser Special Edition microphone named after him – Sennheiser Evolution Series 2001
 * First and current UNICEF National Ambassador of Goodwill in the Philippines, 1998–present

title: Gary Valenciano


text:
Pro Football Weekly

Pro Football Weekly (sometimes shortened to PFW) is an American sports magazine, founded in 1967, and website that covers the National Football League (NFL). It was owned by Pro Football Weekly LLC and headquartered in Riverwoods, Illinois. PFW closed temporarily in 2013, but it reopened in partnership with Shaw Media in 2014.

The magazine was published 32 times a year, including every week of the NFL season, and issued four supplementary publications – the Pro Football Weekly Preview, the Fantasy Football Guide, the Draft Preview, and the Pro Prospects Preview – annually. With a beat writer covering each NFL team, the magazine was one of a small number covering each team in detail on a regular basis. Three of the four supplementary publications, the Pro Football Weekly Preview, Fantasy Football Guide and Draft Preview, continue to be published annually by Shaw Media.

Hub Arkush remains PFW's editor.

While the weekly magazine has ceased publication, the popular syndicated radio show called Pro Football Weekly & Basketball News also has continued. It is hosted by Arkush and Wayne Larrivee; the program also covers the NBA. Similarly, the Pro Football Weekly half-hour television show continues to air. Also in partnership with Shaw Media, Arkush launched ChicagoFootball.com in 2014, and ProFootballWeekly.com was relaunched in 2015.

From 1996 to 2002, Pro Football Weekly was owned by Primedia.

NFL awards

 * Pro Football Weekly NFL Coach of the Year
 * Pro Football Weekly/Pro Football Writers of America NFL Rookie of the Year
 * Golden Toe Award, presented annually to the top kicker in the NFL

title: Pro Football Weekly


text:
The Armando Iannucci Shows

The Armando Iannucci Shows is a series of eight programmes directed by Armando Iannucci and written by Iannucci with Andy Riley and Kevin Cecil. It was shown on UK's Channel 4 from 30 August to 18 October 2001. Each episode focused on specific themes relating to human nature and existentialism, around which Iannucci would weave a series of surreal sketches and monologues.

Format
Recurring themes in the episodes are the superficiality of modern culture, our problems communicating with each other, the mundane nature of working life and feelings of personal inadequacy and social awkwardness. Several characters also make repeat appearances in the shows, including the East End thug, who solves every problem with threats of violence; Hugh, an old man who delivers surreal monologues about what things were like in the old days; and Iannucci's barber, Luca, who is full of nonsensical anecdotes.

Recurring characters
Most of the sketches and characters in The Armando Iannucci Shows were one-offs, but a few characters did recur:

 * Luca (Steve Brody) - An Italian barber who regales Armando with bizarre theories and anecdotes rather than cutting his hair.
 * The East End Thug (Alan Ford) - A middle-aged cockney villain who can solve almost any problem through the medium of violent gangland threats.
 * Hugh (Hugh Cecil) - an old man who visits Armando and recalls his past, his reminiscences containing a modern twist.
 * The Television Executives (Tony Gardner, Darren Higham, Melanie Hudson and Stephen Mangan) - a group of TV executives unable to conceive of anything other than in terms of a TV pitch. Usually end up congratulating themselves with a conga ("We're so good at telly").

Episodes
Each episode is themed around a certain subject. The following episode order is according to the DVD which had its contents significantly reshuffled from the original broadcast timeline.

Music
The original broadcast version featured a number of modern classical pieces including:
 * Spiegel im Spiegel – Arvo Pärt – Angela Yoffe and Vadim Gluzman
 * Shaker Loops: I. Shaking and Trembling – John Adams, London Symphony Orchestra and the Orchestra of St. Luke's
 * Tracery – Nusrat Fateh Ali Khan
 * Cantus In Memoriam Benjamin Britten – Arvo Pärt
 * Symphony of Sorrowful Songs, 2nd movement – Henryk Górecki

Other classical pieces included:
 * "The Aquarium" from The Carnival of the Animals – Camille Saint-Saëns
 * Serenade to Music (orchestral version) – Ralph Vaughan Williams
 * Wachet auf, ruft uns die Stimme – Johann Sebastian Bach
 * "Herr, unser Herrscher" from St John Passion – J. S. Bach

Some of these pieces had to be removed from the DVD due to rights issues, and were replaced with stock library music.

There is also a snippet of an imaginary modern opera, "Ibiza Uncovered", that is very close to the style of the opera of John Adams.

Reception
Iannucci has been quoted as saying it is the comedy series he is most proud of making. He told The Metro in April 2007 "The Armando Iannucci Show [sic] on Channel 4 came out around 9/11, so it was overlooked for good reasons. People had other things on their minds. But that was the closest to me expressing my comic outlook on life."

The show is also notable for its use of music, the quality of its direction and the often extensive use of CGI effects. A DVD of the series was released on 4 September 2006 after years of wrangles due to music rights issues.

Empire called the show "a lesser effort, even if this does display flashes of the wit behind The Day Today and The Thick of It."

title: The Armando Iannucci Shows


text:
Playtime

Playtime (stylized as PlayTime and also written as Play Time) is a 1967 comedy film directed by Jacques Tati. In the film, Tati again plays Monsieur Hulot, the popular character who had central roles in his earlier films Les Vacances de Monsieur Hulot (1953) and Mon Oncle (1958). However, Tati grew ambivalent towards playing Hulot as a recurring central role during production; he appears intermittently in Playtime, alternating between central and supporting roles.

Shot on 70 mm, the work is notable for its enormous set, which Tati had built specially for the film, as well as Tati's trademark use of subtle yet complex visual comedy supported by creative sound effects; dialogue is frequently reduced to the level of background noise.

Playtime is considered Tati's masterpiece and his most daring work. In 2022, Playtime was 23rd on the British Film Institute's critics' list and 41st in their directors' list of "Top 100 Greatest Films of All Time". The film was a financial failure upon release but is now widely regarded as one of the greatest films of all time.

Plot
Playtime is set in a futuristic, hyperconsumerist Paris. The story is structured in six sequences, linked by two characters who repeatedly encounter one another over the course of a day: Barbara, a young American tourist visiting Paris with an American tourist group, and Monsieur Hulot, a befuddled Frenchman lost in the new modernity of Paris. The sequences are as follows:
 * The Airport: The American tour group arrives at the ultra-modern and impersonal Orly Airport.
 * The Offices: M. Hulot arrives at one of the glass and steel buildings for an important meeting but gets lost in a maze of disguised rooms and offices, eventually stumbling into a trade exhibition of lookalike business office designs and furniture nearly identical to those in the rest of the building.

 * The Trade Exhibition: M. Hulot and the American tourists are introduced to the latest modern gadgets, including a door that slams "in golden silence" and a broom with headlights, while the Paris of legend goes all but unnoticed save for a flower seller's stall and a single reflection of the Eiffel Tower in a glass door. Later, a similar reflection shows Montmartre.
 * The Apartments: As night falls, M. Hulot meets with an old friend who invites him to his sparsely furnished, ultra-modern and glass-fronted flat. This sequence is filmed entirely from the street, observing M. Hulot and other building residents through uncurtained floor-to-ceiling picture windows.
 * The Royal Garden: This sequence takes up almost the entire second half of the film. At the restaurant, M. Hulot reunites with several characters he has periodically encountered during the day, along with a few new ones, including a nostalgic ballad singer and a boisterous American businessman.
 * The Carousel of Cars: M. Hulot buys Barbara two small gifts as mementos of Paris before her departure. In the midst of a complex ballet of cars in a traffic circle, the tourists' bus returns to the airport.

Cast
When possible, Tati cast nonprofessionals. He wanted people whose inner essence matched their characters and who could move in the way he wanted.

Background
In the 1960s, French president Charles de Gaulle made a vow to develop his country's economy and reform Paris into a modern city. Knocking down older houses in urban Right Bank districts, developers rebuilt parts of the city and its suburbs and put up modernized blocks of glass and steel in their place. High-rise structures were allowed within Paris for the first time, and their anonymous façades soured the City of Lights' historical atmosphere and represented an unsightly contrast to her famous monuments. The city of the future was on its way, and its expansion was modeled according to dull, functional, pointedly Americanized specifications.

During this time, filmmaker Jacques Tati, who had grown up in the earthy quarters of Paris and lived there most of his life, decided to make a film about the ache of losing his old Paris to a more contemporary cityscape. To accomplish this, Tati conceived a most ingenious and maniacal idea: he would build a city of his own design, on which he could shoot freely and have absolute control. His crew called it Tativille.

Production

Upon its release in 1967, PlayTime was the most expensive film ever made in France. And yet, it contains almost no story and its dialogue is mostly inconsequential. Like Tati's other pictures, the dialogue has been post-synchronized and its volume turned down to direct our attention to forms of behavior and visual gags in the impractical spaces he has chosen to depict. Fore, middle, and backgrounds are all in crisp focus and ready for our eyes to explore, occupied at times by, among a whole population of others, Tati's famous alter ego Monsieur Hulot.

Hulot first appeared in M. Hulot's Holiday (1953) and then Mon Oncle (1958). With his long-stemmed pipe, raincoat and hat, and his pants often too short, Hulot moves about somewhat lost outside of his "old quarter" of Paris, bemused and confounded by urbanization and modern gadgetry. An iconic figure as connected to Tati as the Little Tramp was to Charles Chaplin, Hulot also represented an artistic hindrance for Tati, who by the early sixties wanted to move beyond his beloved character and explore whole environments more than a Hulot-centric narrative and gags. Nevertheless, without Hulot's popularity, any commercial prospects for PlayTime would have been nonexistent, and so Hulot, although present in the film, has a minimal role. Like all characters and spaces within the frame, Hulot becomes part of the scenery; he disappears for long patches of screentime, seemingly lost in the bustle of the modernized world.

The film is famous for its enormous, specially constructed set and background stage, known as "Tativille", which contributed significantly to the film's large budget, said to be 17 million francs (which would have been roughly 3.4 million US dollars in 1964). The set required a hundred workers to construct along with its own power plant. Budget crises and other disasters stretched the shooting schedule to three years, including 1.4 million francs in repairs after the set was damaged by storms. Tati observed that the cost of building the set was no greater than what it would have cost to have hired Elizabeth Taylor or Sophia Loren for the leading role. Budget overruns forced Tati to take out large loans and personal overdrafts to cover ever-increasing production costs.

As Playtime depended greatly on visual comedy and sound effects, Tati chose to shoot the film using high-resolution 70 mm film, and a stereophonic soundtrack that was complex for its time.

To save money, some of the building facades and the interior of the Orly set were actually giant photographs. (The photographs also had the advantage of not reflecting the camera or lights.) The Paris landmarks Barbara sees reflected in the glass door are also photographs. Tati also used life-sized cutout photographs of people to save money on extras. These cutouts are noticeable in some of the cubicles when Hulot overlooks the maze of offices, and in the deep background in some of the shots at ground level from one office building to another.

Filming
Tati's enormous presentation would be shot in high-resolution 70mm, allowing the expansive real-world exteriors to dominate the frame. Tati's previous films were shot on actual locations, for PlayTime, Tati could not afford what it would cost to take over whole segments of a real-life city or airport, and no city or airport would shut itself down and submit to Tati's obsessive and exacting directorial style, wherein every detail was observed and laboured-over to meticulous effect.

Though his cameraman Jean Badal had proposed that Tati erect a building for the production and then sell it afterward, Tati had something more blindly idealistic in mind. His newly developed company Specta-Films would create massive buildings and offices, roads and streetlights, and even an airport. But rather than make these structures functional spaces that could be resold afterward, Tati intended its use for the French film industry. His studio-set, famously dubbed "Tativille" by the crew, would be built on the southeast corner of Paris, on a wasteland at Saint-Maurice.

Construction began in September 1964 and met with almost immediate delays and budgetary problems, and would not be finished until March 1965. Shooting began in April 1965 with a planned 178-day shoot, but lasted until October 1966. During the astonishingly protracted 365 days of actual shooting, minus vacations and stoppages, filming halted sometimes for weeks or months at a time for any number of reasons: bad weather, non-prime lighting conditions, or more commonly because Tati's money had run out. Tati borrowed funds from government financiers, banks, against Specta-Films' assets, and eventually his personal fortune. Soon he turned to friends and family. Public figures and admirers contributed too, but it was not enough. Tati eventually signed away the rights to his three previous pictures. The final budget for PlayTime was reportedly anywhere between five and twelve million francs; though many bills went unpaid by the time production had wrapped.

Tati decided to use 70mm panoramic stock whereas any other of his pictures were all shot in a box-like aspect ratio of 1.33:1. While the wider strip of film allowed for a greater sense of detail within the frame, the director's choice was impelled by a desire to implement a rectangular widescreen format, since his other films had all been presented in the more square 35mm standard of the era. Larger format film stock, especially 70mm, was usually reserved for larger-than-life box-office spectacles filled with grandiose imagery and crowd-pleasing adventure, such as Ben-Hur (1959) or Lawrence of Arabia (1962). Tati, however, did not employ the full 2.2:1 aspect ratio of 70mm, instead narrowing it slightly for a projected ratio of 1.85:1.

Today, finding a movie theatre with a 70mm projector capable of capturing its full visual bounty is rarer still. However, Tati described his implementation as follows: "What I find extraordinary is that the device allows the viewer to have a fuller appreciation of a mere pin dropping in a large empty room." And so, Tati's use of the frame does not direct the viewer toward the action as Hollywood spectacles do; rather, he carefully avoids close-ups, which he dreaded, and presents a whole environment onscreen in which the purpose of the scene is not emphasized or visually underlined. Our eyes are meant to explore, to regard the frame's inhabitants and take note of the countless little scenarios and gags that Tati has dreamed up for us. Such a methodology remains unique in cinema and a testament to Tati's art, and his ongoing pursuit to help his audiences identify the comic delights of everyday life.

Style
Tati wanted the film to be in color but look like it was filmed in black and white – an effect he had previously employed to some extent in Mon Oncle. The predominant colors are shades of grey, blue, black, and greyish white. Green and red are used as occasional accent colors: for example, the greenish hue of patrons lit by a neon sign in a sterile and modern lunch counter, or the flashing red light on an office intercom. It has been said that Tati had one red item in every shot.

Except for a single flower stall, there are no genuine green plants or trees on the set, though dull plastic plants adorn the outer balconies of some buildings, including the restaurant (the one location shot apart from the road to the airport). Thus, when the character of Barbara arrives at the Royal Garden restaurant in an emerald green dress seen as "dated" by the other whispering female patrons clothed in dark attire, she visually contrasts not only with the other diners, but also with the entire physical environment of the film. As the characters in the restaurant scene begin to lose their normal social inhibitions and revel in the unraveling of their surroundings, Tati intensifies both color and lighting accordingly: late arrivals to the restaurant are less conservative, arriving in vibrant, often patterned clothing.

Tati detested close-ups, considering them crude, and shot in 65 mm film so that all the actors and their physical movements would be visible, even when they were in the far background of a group scene. He used sound rather than visual cues to direct the audience's attention; with the large image size, sound could be both high and low in the image as well as left and right. As with most Tati films, sound effects were utilized to intensify comedic effect; Leonard Maltin wrote that Tati was the "only man in movie history to get a laugh out of the hum of a neon sign!" Almost the entire film was dubbed after shooting; the editing process took nine months.

Philip Kemp has described the film's plot as exploring "how the curve comes to reassert itself over the straight line". This progression is carried out in numerous ways. At the beginning of the film, people walk in straight lines and turn on right angles. Only working-class construction workers (representing Hulot's "old Paris", celebrated in Mon Oncle) and two music-loving teenagers move in a curvaceous and naturally human way. Some of this robot-like behavior begins to loosen in the restaurant scene near the end of the film, as the participants set aside their assigned roles and learn to enjoy themselves after a plague of opening-night disasters.

Throughout the film, the American tourists are continually lined up and counted, though Barbara keeps escaping and must be frequently called back to conform with the others. By the end, she has united the curve and the line (Hulot's gift, a square scarf, is fitted to her round head); her straight bus ride back to the airport becomes lost in a seemingly endless traffic circle that has the atmosphere of a carnival ride.

The extended apartment sequence, where Tati's character visits a friend and tours his apartment, is notable. Tati keeps his audience outside of the apartment as we look inside the lives of these characters. In September 2012, Interiors, an online journal that is concerned with the relationship between architecture and film, released an issue that discussed how space is used in this scene. The issue highlights how Tati uses the space of the apartment to create voyeurs out of his audience.

Reception
Tati's financial problems did not improve after PlayTime‘s first showings. On its original French release, Playtime was commercially unsuccessful, failing to earn back a significant portion of its production costs. The film was entered into the 6th Moscow International Film Festival, where it won a Silver Prize.

Results were the same upon the film's eventual release in the United States in 1973 (even though it had finally been converted to a 35 mm format at the insistence of US distributors and edited down to 103 minutes). Though Vincent Canby of The New York Times called Playtime "Tati's most brilliant film", it was no more a commercial success in the US than in France. Debts incurred as a result of the film's cost overruns eventually forced Tati to file for bankruptcy.

Complaints that the film was too long resulted in Tati, who could hardly afford to hire an editor, cutting down individual copies of the film from the original runtime of 140 minutes to under 120 minutes for general release. Tati assured the film community that the original 70mm negative remained in his possession, but after various re-releases in the decades to come, the longest cut yet released runs 124 minutes. At the time, Tati's artistic integrity toward the project was both inspiring and debilitating. He intended PlayTime to be something new, a "spectacle cinématographique" featuring an exclusive first-run showing with reservable seats, something more along the lines of live theater.

He refused to provide some cinemas unequipped with 70mm projectors an altered 35mm version, and audiences further confounded by the lacking presence of the beloved M. Hulot added to the lukewarm responses. After all, Hulot barely utters a word in the film; although Tati's character says little in earlier incarnations, he at least spoke. And, in fact, the film's only dialogue consists of background chatter that amounts to ambient noise.

Moreover, Tati had become worn down not only by the production itself, but by the negative press surrounding its ostentatiousness. That he refused interviews or to allow journalists on his set worsened matters. Negative press both before and after its release soured audience reactions, and Tati's financial troubles led to bankruptcy when he failed to secure a full U.S. distribution. Worse, shortly after its release, France was struck with the student revolts of May 1968 and everything else seemed unimportant. Not until years later, often after the required multiple viewings of PlayTime, did audiences and film scholars realize the film's true mastery. In their 2012 poll of critics and directors, Sight & Sound, published by the British Film Institute, put PlayTime on their prestigious "Top 50 Greatest Films of All Time" list.

Playtime is regarded as a great achievement by many critics. On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 98% based on 54 reviews, with an average rating of 8.9/10. The website's critics consensus reads, "A remarkable achievement, Playtime packs every scene with sight gags and characters that both celebrates and satirizes the urbanization of modern life."

In 2024, the film won Best Picture at the Second Annual Wheelies Awards, hosted by 718 Cinema Club.

title: Playtime


text:
TV 2 Zulu

TV 2 Zulu was a Danish television station and a sister channel to TV 2 Denmark. It was primarily aimed at viewers between 15 and 30 years of age.

TV2 Zulu has been noted for Danish comedy shows and programmes such as Langt fra Las Vegas, Gustne Gensyn, P.I.S., Klovn and FC Zulu, the latter of which was nominated for an International Emmy in 2005 for best Non-scripted Entertainment. From 2000 to 2007, TV2 Zulu broadcast live NFL games.

TV2 Zulu was also known for its award shows such as Zulu Awards and Zulu Comedy Galla. Zulu Comedy Galla is a part of Zulu Comedy Festival, where comedians, both Danish and foreign, are performing in the capital of Denmark, Copenhagen. In 2011 it was introduced that comedians would also be performing in Aarhus. During the festival, the TV channel also broadcasts much comedy.

In the summer TV2 Zulu toured Denmark with an outdoor cinema, Zulu Sommerbio (Zulu Summercinema). In the cinema you get access to newly released movies for free, and in the meantime on the TV channel, TV2 Zulu broadcast movies, sorted by themes for the different weeks. Every place Zulu Sommerbio visits they stay 3–5 days, and on the last day, the audience got to decide the last movie, via a vote on the television stations website.

On satellite, TV 2 Zulu (as well as TV 2 Charlie and TV 2 Film) was initially exclusively available via Canal Digital. The competing Viasat platform started broadcasting the channels in January 2009.

TV 2 Zulu closed on 27 March 2023, and was replaced by TV 2 Echo.

title: TV 2 Zulu


text:
Heaven v Pender

Heaven v Pender (1883) (11 QBD 503, Court of Appeal) was an English tort law case, which foreshadowed the birth of the modern law of negligence.

Facts
Pender was the owner of a dry dock used for ship works, and Heaven was a ship painter who was using some staging slung over the side of a ship he was painting, supported by ropes. These ropes had previously been damaged and evidence showed that they were unfit for use. The painter was injured. In a summary advanced in relation to a later House of Lords case, Caledonian Railway Co. v. Warwick (1897), Lord Herschell stated that the dry dock's supporting apparatus "was part of the facilities which the dock afforded, just as they did by their cranes, their warehouses, or any other appliances, to the vessels that came to use their docks. This particular appliance was in such a condition that a person going upon it, trusting, as he would have a right to trust, that he might go upon it safely because it would bear his weight, was led into what has been called a trap, by which he sustained an injury. He was there upon the invitation of the dock company, and although it is true that the staging was used for painting a ship, it was part of the appliances, supplied by the dock company for purposes connected with the carrying on of their business. It was one of the facilities given by which they induced vessels to use their docks that they did supply these appliances[.] It was said that they had invited the plaintiff to come upon that staging, and that they were responsible if the man so invited was led into the trap by means of which he was injured."

Judgment
(Brett MR – minority): "Whenever one person is by circumstances placed in such a position with regard to another that everyone of ordinary sense who did think would at once recognise that if he did not use ordinary care and skill in his own conduct with regard to those circumstances he would cause danger of injury to the person or property of the other, a duty arises to use ordinary skill and avoid such danger.Tort law should assume a broad view of this area. If any person with ordinary sense realises that if they did not exercise proper care and skill, damage could be occasioned to another or another's property from their actions, they should be held liable."

Court of Appeal
The Master of the Rolls, William Brett, 1st Viscount Esher, suggested that there was a wider duty to be responsible in tort to those who might be injured if "ordinary care and skill" was not exercised.

Brett MR's obiter views would later be expressly adopted by Lord Atkin in the House of Lords in Donoghue v Stevenson, when the general concept of a tortious duty of care in negligence was established under English law.

House of Lords
The House of Lords was content to decide the case on the basis that a duty of care was owed by an occupier of land (the owner of the dry dock) to invitees (the employees of the contractor who were on the site to the economic benefit ultimately of the dry dock owner).

title: Heaven v Pender


text:
Agonalia

An Agonalia or Agonia was an obscure archaic religious observance celebrated in ancient Rome several times a year, in honor of various divinities. Its institution, like that of other religious rites and ceremonies, was attributed to Numa Pompilius, the semi-legendary second king of Rome. Ancient calendars indicate that it was celebrated regularly on January 9, May 21, and December 11.

A festival called Agonia or Agonium Martiale, in honor of Mars, was celebrated March 17, the same day as the Liberalia, during a prolonged "war festival" that marked the beginning of the season for military campaigning and agriculture.

Purpose
The offering was a ram (aries), the usual victim sacrificed to the guardian gods of the state. The presiding priest was the rex sacrificulus, and the site was the Regia, both of which could be employed only for ceremonies connected with the highest gods that affected the wellbeing of the whole state. But the purpose of this festival was disputed even among the ancients themselves.

Etymology
The etymology of the name was also a subject of much dispute among the ancients. The various etymologies proposed are given at length by Ovid. None of these, however, is satisfactory. One possibility is that the sacrifice in its earliest form was offered on the Quirinal Hill, which was originally called Agonus, at the Colline gate, Agonensis. The sacrifice is explicitly located at the Regia, or the domus regis ("house of the king"), which in the historical period was at the top of the Via Sacra, near the arch of Titus, though one ancient source states that in earliest times, the Regia was on the Quirinal.

The Circus Agonensis, as it is called, is supposed by some to have occupied the place of the present Piazza Navona, and to have been built by the emperor Alexander Severus on the spot where the victims were sacrificed at the Agonalia. It may not, however, have been a circus at all, and Humphrey omits the site in his work on Roman circuses.

January 9
An Agonium occurs on January 9 in the Fasti Praenestini, albeit in mutilated form. In Ovid's poem on the Roman calendar, he calls it once the dies agonalis ("agonal day") and elsewhere the Agonalia, and offers a number of etymologies of varied plausibility. Festus explains the word agonia as an archaic Latin term for hostia, a sacrificial victim. Augustine of Hippo thought the Romans had a god named Agonius, who might then have been the god of the Colline part of the city (see "Etymology" above).

December 11
This third occurrence of the Agonia or Agonalia shares the date of December 11 with the Septimontium or Septimontiale sacrum, which only very late Roman calendars take note of and which depends on a textual conjecture. The relation between the two observances, if any exists, is unknown. A fragmentary inscription found at Ostia that reads: "Agonind" testifies that this festival was dedicated to Sol Indiges. It was indeed the second festival celebrating this deity, after that of August 10.

Agonium Martiale
The Agonia to Mars occurs during a period of festivals in March (Latin Martius), the namesake month of Mars. These were the chariot races of the Equirria February 27, a feria on the Kalends of March (a day sacred also to his mother Juno), a second Equirria on March 14, his Agonalia March 17, and the Tubilustrium March 23.

A note on the holiday from Varro indicates that this Agonia was of more recondite significance than the Liberalia held on the same day. Varro's source is the books of the Salian priests surnamed Agonenses, who call it the Agonia instead. According to Masurius Sabinus, the Liberalia was called the Agonium Martiale by the pontiffs. Modern scholars are inclined to think that the sharing of the date was a coincidence, and that the two festivals were unrelated.

title: Agonalia


text:
Wikipedia:Articles for deletion/David Windsor

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

The result of the debate was DELETE. -Splash talk 23:50, 19 October 2005 (UTC)

David Windsor
This guy is not in imdb, and I can't find any information on this actor. I suspect a hoax, or at the very least, non-notable vanity. --DropDeadGorgias (talk) 19:26, 11 October 2005 (UTC)
 * Delete NN --Rogerd 04:04, 12 October 2005 (UTC)
 * Delete as per DropDeadGorgias. -- Kjkolb 04:18, 12 October 2005 (UTC)
 * Comment: what's wrong with this nomination's edit link? It goes to a locked template page. -- Kjkolb 06:03, 12 October 2005 (UTC)
 * I think I've fixed it. I forgot to use a "subst" tag. --DropDeadGorgias (talk) 16:13, 13 October 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.


text:
Limerick, Louisville

Limerick is a neighborhood one mile south of downtown Louisville, Kentucky, USA.

History
The neighborhood was developed in the 1860s as a place of residence for employees of the Louisville and Nashville Railroad freight yard. It was named because nearly all of the residents were from the Irish county of Limerick. The St. Louis Bertrand Catholic Church was the centerpiece of the newly founded neighborhood. Limerick began the trend of working-class people living southwest of downtown, a trend which continues in the city to this day.

The working class Irish immigrants lived in modest shotgun houses, with a moderate number of African Americans living in the alleyways behind them, while upper income Irish, known as "lace curtain Irish", built mansion houses on St. Catherine Street. The Irish Catholic presence in Limerick was strong enough that from 1872 to 1918 an annual St Patrick's Day march went from the church to Broadway. But as many of the railroad jobs left the area, the Irish began to move to South Louisville.

On October 7, 1871, the Louisville Steam Engine Co. 7 was formed to provide fire protection to the "southern suburbs" of Louisville. Its firehouse at 821 S. 6th Street is the oldest continuously active firehouse in the U.S. On December 10, 2008, Louisville Mayor Jerry Abramson announced his intention to close the firehouse and disband the company on January 1, 2009.

As the Irish left, the African Americans moved from the alleyways into the vacated shotgun houses. In 1873, Louisville Central Public School, Kentucky's first state supported public school for African Americans was opened at 6th and Kentucky Streets. It would be later renamed Simmons College and finally Municipal College for Negros, a "colored" campus of the University of Louisville. The school is now in the process of reclaiming its former campus and is officially known as Simmons College of Kentucky.

Beginning around 1874 Limerick was the site of two successive baseball fields, both named Eclipse Park and located at 7th and Kentucky streets (across the street from each other). They were the home of Louisville's major league team, the Louisville Colonels (originally the Louisville Eclipse) from 1882 until the team folded in 1899. It was here that Hall of Famer Honus Wagner made his major league debut on July 19, 1897.

The news weekly Kentucky Irish American would be published from Limerick for nearly seventy years, starting in 1898.

Historic preservation
Today, Limerick is a historic preservation district. It is bounded by Breckinridge Street to the north, 5th street to the east, Oak Street to the south, and the CSX railroad tracks to the west. South of Oak street, the eastern boundary is 7th street until it crosses the railroad tracks.

Demographics
As of 2000, the population of Limerick was 1,448, of which 56.5% are black, 37.7% are white, 3.8% are listed as other, and 2% are Hispanic. College graduates are 17.3% of the population, people without a high school degree are 21.2%. Males outnumber females 63.7% to 46.3%.

title: Limerick, Louisville


text: User talk:24.172.95.81

title: User talk:24.172.95.81


text:
Talk:Mary Miles Minter

actor
Note she's in actor categories, not actress cats, see this article for the non-gendered term in normal, unremarkable, mainstream use. Wyss 19:27, 11 October 2005 (UTC)

' '

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External links modified
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Mother or daughter?
In 1937, Minter publicly announced to the Los Angeles Examiner newspaper, "Now I demand that I either be prosecuted for the murder committed fifteen years ago, or exonerated completely."
 * According to the History Channel video about the murder, this was said by her mother, not by Mary. Valetude (talk) 20:46, 19 February 2018 (UTC)
 * The book, A Cast of Killers, by Sidney D. Kirkpatrick mentions a December 1929 article wherein both Mary and Charlotte deny wrongdoing and demand the police make public any incriminating evidence against them. The police admitted they had none and officially cleared the two. Based on this, I'm not sure why Minter or her mother would find the above-quoted statement necessary in 1937. →Wordbuilder (talk) 20:01, 22 February 2018 (UTC)

title: Talk:Mary Miles Minter


text:
The Honorary Title

The Honorary Title was an American alternative indie rock band from Brooklyn, New York, United States. The band released their first self-titled EP "The Honorary Title" in 2003 and then their first album in 2004, Anything Else but the Truth, which was later re-released with five additional songs and two bonus videos. In early 2007 the EP, "Untouched and Intact" arrived introducing four songs, three of which were re-released in the group's latest album, Scream & Light Up the Sky, which was released on August 28, 2007.

Biography
The band began in 2003 with just Gorbel's vocals and Kamstra's multi-instrumental talents, where they played with an indie record label before being signed onto Doghouse Records. After releasing their debut album, Anything Else But The Truth in 2004, the band eventually signed on ex-member of The Format, Adam Boyd (formerly of Greeley Estates), along with Jonathan Wiley. After heavy touring, the Honorary Title released Scream and Light Up The Sky in 2007. In late 2007, Aaron Kamstra left the band because of the constant touring schedule. Jonathan Wiley also left the band to tour with Adam Green. In an interview with Absolutepunk.net on April 1, 2008, Gorbel said, "Aaron and I always had different ideas of where we were headed both musically, artistically, personally blah blah blah. We spent more time arguing than actually creating music. I wish him the best of luck. Jon is currently touring with Adam Green. There's no hard feelings, but we will miss him anyways; both amazing musicians."

Gorbel released a solo EP called Ten Years Older on his 2009 acoustic tour with Dustin Dobernig. In an interview with weworemasks.com, Gorbel says, "It’s considered a solo session, but…The Honorary Title might be over." He also said he is working on a solo LP. On October 24, 2009, Jarrod announced that The Honorary Title would play their final show on Friday, November 20, 2009.

On August 31, 2010, Gorbel released his first solo LP "Devil's Made a New Friend" under label Burning House Records.

Gorbel supported Hanson on the 3rd leg of their Shout It Out tour, starting November 1, 2010 in Dallas, TX and ending November 23 in Toronto, Ontario.

In 2012, Gorbel founded a new band, Night Terrors of 1927, along with friend Blake Sennett, former lead guitarist of the band Rilo Kiley. On May 5, 2017 having seen the release of two EPs and a full-length album, Night Terrors of 1927 announced their end. That same day Gorbel announced his involvement with a new band, Mourners, and a side project entitled Numblife.

On April 3, 2018, The Honorary Title announced on their Facebook page a reunion show to celebrate the 15th release anniversary of their first self-titled EP. The reunion show consisted of the band playing their first album, Anything Else But The Truth, in its entirety. The show was played June 1 at the Troubadour in Los Angeles with opening band Limbeck who frequently accompanied the band on their previous tours. Three more dates in August were eventually added for shows in Chicago, Brooklyn and San Francisco.

Members

 * Jarrod Gorbel – lead vocals, guitar
 * Aaron Kamstra - Bass, keyboard
 * Adam Boyd – drums, vocals
 * Mike Schey - guitar
 * Nate Harold - bass
 * Dustin Dobernig - keyboard

Studio albums

 * 2004: Anything Else but the Truth
 * 2007: Scream & Light Up the Sky

EPs

 * 2003: The Honorary Title
 * 2007: Untouched and Intact [EP]
 * 2008: The City On Christmas [EP]
 * 2009: Tour [EP]

Solo releases

 * 2009: Ten Years Older [EP]
 * 2010: Devil's Made a New Friend
 * 2011: Bruises From Your Bad Dreams [EP]

Compilations

 * Doghouse 100 – "Snow Day"
 * Paupers, Peasants, Princes & Kings: The Songs of Bob Dylan – "Simple Twist of Fate"
 * The Road Mix: Music from the Television Series One Tree Hill, Volume 3 – "Stay Away"
 * Take Action Volume 6 – "Untouched and Intact"
 * True Crime: New York City (Videogame) - "Bridge and Tunnel"

Other information
Lost stars Dominic Monaghan and Daniel Dae Kim are known to be fans, Monaghan introducing Kim to the band while filming.

The band is featured on The CW drama One Tree Hill soundtrack The Road Mix: Music from the Television Series One Tree Hill, Vol. 3.They also performed in episode 7 of season 5 of One Tree Hill entitled "In Da Club".

Their song "Accident Prone" was featured in the 2007 comedy Good Luck Chuck.

Their song "Bridge and Tunnel" was featured in the 2005 video game True Crime New York City.

Several songs from both albums have been featured on ABC Family's (now Freeform) Greek.

title: The Honorary Title


text: User talk:12.166.222.37

title: User talk:12.166.222.37


text:
Winterbottom v Wright

Winterbottom v Wright (1842) 10 M&W 109 was an important case in English common law responsible for constraining the law's 19th-century stance on negligence.

Facts
The plaintiff Winterbottom had been contracted by the Postmaster-General to drive a mail coach supplied by the Postmaster. The defendant Wright had been contracted by the Postmaster to maintain the coach in a safe state. The coach collapsed while Winterbottom was driving, and he was injured. He claimed that Wright had "negligently conducted himself, and so utterly disregarded his aforesaid contract and so wholly and negligently failed to perform his duty in this behalf."

In Winterbottom v Wright, the court held that the plaintiff had no redress. The principle of Winterbottom meant that consumers who were injured by defective products in the 19th century had no legal action against the defective execution of a contract to which they were not expressly privy, a doctrine referred to by legal scholars including P. H. Winfield as the "privity of contract fallacy".

Judgment
In 1842, the law's only recognition of "negligence" was in respect of a breach of contract. As the plaintiff was not in a contract with the defendant, the court ruled in favour of the defendant on the basis of the doctrine of privity of contract.

Winterbottom sought to extend the ratio of the court in Langridge v Levy but the court rejected that on the grounds that that case involved a gun whose safety had been misrepresented by the vendor.

The case was also possibly influenced by public policy. If the plaintiff were able to sue," there would be unlimited actions" and the public utility of the Postmaster-General was such that allowing such actions would be undesirable for society.

Significance
Though Master of the Rolls William Brett sought to establish a general principle of duty of care in Heaven v. Pender (1883), his judgment was at variance with the majority of the court. The privity argument was subsequently rejected in common law in the United States in MacPherson v. Buick Motor Co. (1916) and finally in England by the doctrine of the "neighbour principle" in Donoghue v Stevenson (1932).

Case law

 * Butterfield v Forrester
 * Davies v Mann
 * May v Burdett
 * Paris v Stepney BC

title: Winterbottom v Wright