title: Third-wave feminism

text: Essentially the claim was that gender equality had already been achieved, via the first two waves, and further attempts to push for women's rights were irrelevant and unnecessary, or perhaps even pushed the pendulum too far in women's favor. This issue manifested itself in the heated debates about whether affirmative action was creating gender equality or punishing white, middle-class males for the biological history that they had inherited. Third-wave feminism therefore focused on Consciousness raising—"one's ability to open their mind to the fact that male domination does affect the women of our generation, is what we need.


title: Third-wave feminism

text: Third-wave feminists often engaged in "micro-politics", and challenged the second wave's paradigm as to what was good for women. Proponents of third-wave feminism said that it allowed women to define feminism for themselves. Describing third-wave feminism in "Manifesta: Young Women, Feminism And The Future" (2000), Jennifer Baumgardner and Amy Richards suggested that feminism could change with every generation and individual:


title: Third-wave feminism

text: Third-wave feminists used personal narratives as a form of feminist theory. Expressing personal experiences gave women space to recognize that they were not alone in the oppression and discrimination they faced. Using these accounts has benefits because it records personal details that may not be available in traditional historical texts.


title: Third-wave feminism

text: Third-wave ideology focused on a more post-structuralist interpretation of gender and sexuality. Post-structuralist feminists saw binaries such as male–female as an artificial construct created to maintain the power of the dominant group. Joan W. Scott wrote in 1998 that "poststructuralists insist that words and texts have no fixed or intrinsic meanings, that there is no transparent or self-evident relationship between them and either ideas or things, no basic or ultimate correspondence between language and the world".


title: Third-wave feminism

text: The second wave of feminism is often accused of being elitist and ignoring groups such as women of colour and transgender women, instead, focusing on white, middle class, cisgender women. Third wave feminists questioned the beliefs of their predecessors and began to apply feminist theory to a wider variety of women, who had not been previously included in feminist activity.


title: Third-wave feminism

text: Amy Richards defined the feminist culture for the third wave as "third wave because it's an expression of having grown up with feminism". Second-wave feminists grew up where the politics intertwined within the culture, such as "Kennedy, the Vietnam War, civil rights, and women's rights". In contrast, the third wave sprang from a culture of "punk-rock, hip-hop, 'zines, products, consumerism and the Internet". In an essay entitled "Generations, Academic Feminists in dialogue" Diane Elam wrote:


title: Third-wave feminism

text: Rebecca Walker, in "To Be Real: Telling the Truth and Changing the Face of Feminism" (1995), wrote about her fear of rejection by her mother (Alice Walker) and her godmother (Gloria Steinem) for challenging their views:


title: Third-wave feminism

text: Violence against women, including rape, domestic violence, and sexual harassment, became a central issue. Organizations such as V-Day formed with the goal of ending gender violence, and artistic expressions, such as "The Vagina Monologues," generated awareness. Third-wave feminists wanted to transform traditional notions of sexuality and embrace "an exploration of women's feelings about sexuality that included vagina-centred topics as diverse as orgasm, birth, and rape".


title: Third-wave feminism

text: One of third-wave feminism's primary goals was to demonstrate that access to contraception and abortion are women's reproductive rights. According to Baumgardner and Richards, "It is not feminism's goal to control any woman's fertility, only to free each woman to control her own." South Dakota's 2006 attempt to ban abortion in all cases, except when necessary to protect the mother's life, and the US Supreme Court's vote to uphold the partial birth abortion ban were viewed as restrictions on women's civil and reproductive rights. Restrictions on abortion in the US, which was mostly legalized by the 1973 Supreme Court decision in "Roe v. Wade", were becoming more common in states around the country. These included mandatory waiting periods, parental-consent laws, and spousal-consent laws.


title: Third-wave feminism

text: English speakers continued to use words such as "spinster", "bitch", "whore", and "cunt" to refer to women in derogatory ways. Inga Muscio wrote, "I posit that we're free to seize a word that was kidnapped and co-opted in a pain-filled, distant past, with a ransom that cost our grandmothers' freedom, children, traditions, pride and land." Taking back the word "bitch" was fueled by the single "All Women Are Bitches" (1994) by the all-woman band Fifth Column, and by the book "Bitch: In Praise of Difficult Women" (1999) by Elizabeth Wurtzel.


title: Third-wave feminism

text: The utility of the reclamation strategy became a hot topic with the introduction of SlutWalks in 2011. The first took place in Toronto on 3 April that year in response to a Toronto police officer's remark that "women should avoid dressing like sluts in order not to be victimized." Additional SlutWalks sprang up internationally, including in Berlin, London, New York City, Seattle, and West Hollywood. Several feminist bloggers criticized the campaign; reclamation of the word "slut" was questioned.


title: Third-wave feminism

text: Third-wave feminists expanded the second-wave feminist's definition of sexual liberation to "mean a process of first becoming conscious of the ways one's gender identity and sexuality have been shaped by society and then intentionally constructing (and becoming free to express) one's authentic gender identity". Since third-wave feminism relied on different personal definitions to explain feminism, there is controversy surrounding what sexual liberation really entails. Many third-wave feminists supported the idea that women should embrace their sexuality as a way to take back their power.


title: Third-wave feminism

text: Third-wave feminism regarded race, social class, and transgender rights as central issues. It also paid attention to workplace matters such as the glass ceiling, unfair maternity-leave policies, motherhood support for single mothers by means of welfare and child care, respect for working mothers, and the rights of mothers who decide to leave their careers to raise their children full-time.


title: Third-wave feminism

text: One issue raised by critics was a lack of cohesion because of the absence of a single cause for third-wave feminism. The first wave fought for and gained the right for women to vote. The second wave fought for the right for women to have access to an equal opportunity in the workforce, as well as the end of legal sex discrimination. The third wave allegedly lacked a cohesive goal and was often seen as an extension of the second wave. Some argued that the third wave could be dubbed the "Second Wave, Part Two" when it came to the politics of feminism and that "only young feminist culture" was "truly third wave". One argument ran that the equation of third-wave feminism with individualism prevented the movement from growing and moving towards political goals. Kathleen P. Iannello wrote:


title: Third-wave feminism

text: Feminist scholars such as Shira Tarrant objected to the "wave construct" because it ignored important progress between the periods. Furthermore, if feminism is a global movement, she argued, the fact that the "first-, second-, and third waves time periods correspond most closely to American feminist developments" raises serious problems about how feminism fails to recognize the history of political issues around the world. The "wave construct", critics argued, also focused on white women's suffrage and continued to marginalize the issues of women of color and lower-class women.


title: Third-wave feminism

text: Third-wave feminists proclaim themselves as the most inclusive wave of feminism. Critics have noted that while progressive, there is still exclusion of women of color. Black feminists argue that "the women rights movements were not uniquely for the liberation of Blacks or Black Women. Rather, efforts such as women's suffrage and abolition of slavery ultimately uplifted, strengthened, and benefited White society and White women".


title: Third-wave feminism

text: Third-wave feminism was often associated, primarily by its critics, with the emergence of so-called "lipstick" or "girly" feminists and the rise of "raunch culture". This was because these new feminists advocated "expressions of femininity and female sexuality as a challenge to objectification". Accordingly, this included the dismissal of any restriction, whether deemed patriarchal or feminist, to define or control how women or girls should dress, act, or generally express themselves. These emerging positions stood in stark contrast with the anti-pornography strains of feminism prevalent in the 1980s. Second-wave feminism viewed pornography as encouraging violence towards women. The new feminists posited that the ability to make autonomous choices about self-expression could be an empowering act of resistance, not simply internalized oppression.


title: Third-wave feminism

text: Such views were critiqued because of the subjective nature of empowerment and autonomy. Scholars were unsure whether empowerment was best measured as an "internal feeling of power and agency" or as an external "measure of power and control". Moreover they critiqued an over-investment in "a model of free will and choice" in the marketplace of identities and ideas. Regardless, the "girly" feminists attempted to be open to all different selves while maintaining a dialogue about the meaning of identity and femininity in the contemporary world.


title: Third-wave feminism

text: Third-wave feminists said that these viewpoints should not be limited by the label "girly" feminism or regarded as simply advocating "raunch culture". Rather, they sought to be inclusive of the many diverse roles women fulfill. Gender scholars and Liesbet van Zoonen highlighted this inclusivity by looking at the politicization of women's clothing choices and how the "controversial sartorial choices of girls" and women are constituted in public discourse as "a locus of necessary regulation". Thus the "hijab" and the "belly shirt", as dress choices, were both identified as requiring regulation but for different reasons. Both caused controversy, while appearing to be opposing forms of self-expression. Through the lens of "girly" feminists, one can view both as symbolic of "political agency and resistance to objectification". The "hijab" could be seen as an act of resistance against Western ambivalence towards Islamic identity, and the "belly shirt" an act of resistance against patriarchal society's narrow views of female sexuality. Both were regarded as valid forms of self-expression.


title: Blue Period (manga)

text: As of November 2021, the manga had over 4.5 million copies in circulation. In 2020, "Blue Period" was awarded the 44th Kodansha Manga Award in the General category and the Grand Prize of the 13th Manga Taishō award.


title: Blue Period (manga)

text: Yatora Yaguchi is a fairly popular student who excels in school, but secretly grapples with feelings of emptiness and frustration. When visiting his high school's art club he is inspired to pursue art. He eventually aspires to attend the Tokyo University of the Arts (TUA) after he graduates from high school.


title: Blue Period (manga)

text: "Blue Period" is written and illustrated by Tsubasa Yamaguchi. The series began in Kodansha's "seinen" manga magazine "Monthly Afternoon" on June 24, 2017. Kodansha has collected its chapters into individual "tankōbon" volumes. The first volume was released on December 22, 2017. As of November 22, 2022, thirteen volumes have been released.


title: Blue Period (manga)

text: An anime television series adaptation was announced on January 19, 2021. Seven Arcs is animating the series, with Koji Masunari serving as chief director, and Katsuya Asano serving as director, with scripts by Reiko Yoshida, character designs by Tomoyuki Shitaya, and music by Ippei Inoue. While the series had an advanced streaming debut on Netflix on September 25, 2021, it aired on television from October 2 to December 18 of the same year on the Super Animeism block on MBS, TBS and other channels. Netflix is streaming the series on a weekly schedule outside of Japan since October 9, 2021. Omoinotake performed the opening theme "EVERBLUE," while Mol-74 performed the ending theme "Replica".


title: Blue Period (manga)

text: "Blue Period" was one of the Jury Recommended Works at the 22nd and 24th Japan Media Arts Festival in 2019 and 2021, respectively. In 2019, the manga was nominated for the 12th Manga Taishō and the 43rd Kodansha Manga Award for Best General Manga. In 2020, the manga won the 13th Manga Taishō and the 44th Kodansha Manga Award for Best General Manga. It was also nominated for the 24th Tezuka Osamu Cultural Prize.


title: Blue Period (manga)

text: The series ranked #4 on Takarajimasha's "Kono Manga ga Sugoi!" list of best manga of 2019 for male readers, ranked #14, along with "The Fable" on the 2020 list; and ranked #15, along with "Bōkyō Tarō" on the 2021 list. It ranked #16 on the 2019 "Book of the Year" list by "Da Vinci" magazine; it ranked #19 on the 2020 list; and #24 on the 2021 list. The series was also one of twelve manga series to make the 2021 Young Adult Library Services Association's top 126 graphic novels for teenagers list.


title: Blue Period (manga)

text: Rebecca Silverman from "Anime News Network" gave the first volume a B+. She praised its coming-of-age narrative and characters (specifically the adults), while criticizing it for being too informative at times.


title: The Cable Guy

text: The Cable Guy is a 1996 American black comedy film directed by Ben Stiller, written by Lou Holtz Jr. and starring Jim Carrey and Matthew Broderick. It was released in the United States on June 14, 1996. The film co-stars Leslie Mann, Jack Black, George Segal, Diane Baker, Eric Roberts, Owen Wilson, Janeane Garofalo, David Cross, Andy Dick, Stiller, and Bob Odenkirk.


title: The Cable Guy

text: In the film, Carrey plays an eccentric cable installer who talks with a lisp and becomes overly intrusive in the life of a customer, played by Broderick. The film was a box office success, though not to the extent of many of Carrey's previous films. It received mixed reception from critics, but has since attained a cult following.


title: The Cable Guy

text: Architect Steven Kovacs moves into an apartment after a failed marriage proposal to his girlfriend Robin Harris. Taking advice from his friend Rick, Steven bribes cable installer Ernie "Chip" Douglas into giving him free movie channels. Chip gets Steven to hang out with him the next day and makes him one of his "preferred customers". Chip takes Steven to the city's central satellite dish, where he confides to Steven about being raised by television due to the frequent absences of his single mother. Chip soon proves to be intrusive as he crashes a basketball game between Steven and his friends and leaves multiple messages on Steven's answering machine. Following a knight's duel between Chip and Steven at Medieval Times, Steven finds that Chip has secretly installed an expensive home theater system in his living room as a gift in return for Steven's friendship. Although Steven declines the gift, he agrees to host a party attended by Chip's other preferred customers before having the system returned. In the fervor of the party, Steven sleeps with a young guest, whom Chip reveals the next morning to have been a prostitute that he had hired specifically for Steven. Upon this revelation, Steven angrily ejects Chip from his apartment.


title: The Cable Guy

text: To make amends, Chip tracks down Robin, who is dating another man. A disguised Chip severely beats the man in a restaurant bathroom and tells him to stay away from Robin. He later upgrades Robin's cable, ostensibly as a gift from Steven. Robin decides to get back together with Steven as a result. However, when Chip informs Steven of his role in reuniting him with Robin, Steven politely ends his relationship with Chip. Devastated, Chip sets out on a series of vengeful acts. He gets Steven arrested for possession of stolen property and mocks him through a prison visitation window. After being released on bail, Steven is further embarrassed when Chip attends dinner with his family and Robin. Following a sexualized version of the game "Password", Steven openly berates Chip and punches him. The next day, Steven is fired from his job when Chip transmits a privately recorded conversation, in which Steven insults his boss, onto the company's computers.


title: The Cable Guy

text: Rick investigates Chip at Steven's request and finds that Chip was fired from the cable company for stalking customers, and uses the names of various television characters as aliases such as Chip and Ernie Douglas from "My Three Sons" and Larry Tate from "Bewitched". Chip calls Steven that night, telling him he is paying Robin a visit. After visiting Robin's empty apartment, Steven tracks them down to the satellite dish, where Chip holds Robin hostage in a rainstorm. After a physical altercation and a chase, Steven is able to save Robin. As the police arrive, Chip apologizes to Steven for being a bad friend. Chip, proclaiming that he must "kill the babysitter" to prevent others from becoming like him, dives backward from the top of a ladder onto the satellite dish, knocking out the television signal to the entire city. Chip survives the fall with an injured back, and bids Steven farewell before being hauled away in a rescue helicopter. When one of the paramedics addresses him as "buddy", Chip asks the paramedic if he is truly his buddy, to which the paramedic replies "Yeah, sure you are", causing Chip to smile deviously, implying a repeat of Chip's stalking cycle.


title: The Cable Guy

text: First-time screenwriter Lou Holtz Jr. had the idea for "The Cable Guy" while working as a prosecutor in Los Angeles, declaring that he once saw a cable company employee in the hallway of his mother's apartment building and started thinking, "What's he doing here so late?" The screenplay became the subject of a bidding war, won by Columbia Pictures at a price of $750,000, plus a $250,000 additional bonus if the movie got made. The role of the Cable Guy was originally sold with Chris Farley attached to star, but he later dropped out due to scheduling difficulties. Adam Sandler was also considered for the role of the Cable Guy.


title: The Cable Guy

text: Jim Carrey joined the production, receiving a then record $20 million to star. Following Carrey's signing, Columbia hired Judd Apatow to produce. The studio rebuffed Apatow's interest in directing, but accepted his suggestion to invite Ben Stiller, star of his eponymous show on which Apatow had worked. Stiller was considered to play the Steven Kovacs character before it was offered to Matthew Broderick.


title: The Cable Guy

text: The original screenplay by Lou Holtz Jr. was a lighter comedy, described by Apatow as "a "What About Bob?" annoying friend movie" where the Cable Guy was a likeable loser who intrudes upon the cable subscriber's life, but never in a physically threatening way. Carrey, Apatow and Stiller liked the setup of "somebody who is really smart with technology invading somebody's life", and opted to add slapstick and darker tones, changing into a satire of thrillers such as "Cape Fear", "Unlawful Entry" and "The Hand That Rocks the Cradle". The dialogue would also fit Carrey's style of comedy.


title: The Cable Guy

text: Holtz wrote four additional drafts, each one darker than the previous, before leaving the project and giving Apatow the opportunity to take over the writing. Apatow and Stiller visited Carrey as he was filming "" in South Carolina, and over a few days, riffed a lot of the set pieces that were added to the script, and further explored how Carrey wanted to perform the character. Apatow took the film to the Writers Guild for arbitration to get a writing credit but ultimately Holtz retained sole credit for the script. Apatow expressed frustration at not getting credit but acknowledged that as he was also a producer on the film, the Writers Guild requirements are set very high to protect writers.


title: The Cable Guy

text: The final script had elements so disturbing that Columbia heard many complaints regarding certain scenes. In turn, Apatow declared that the studio did not specifically order removals, "but we took [the scenes] out as part of the natural evolution of our creative process". Stiller stated that he shot every scene with "a dark version and a light version", and that he was surprised that the studio did not object to the violent ending.


title: The Cable Guy

text: The fight sequence at Medieval Times between Chip (Jim Carrey) and Steven (Matthew Broderick) is an homage to the "" episode "Amok Time"—including the use of Vulcan weapons ("lirpa"), the dialogue, and the background music. Director Ben Stiller is an admitted "Star Trek" fan.


title: The Cable Guy

text: The film grossed $19,806,226 on its opening weekend. It grossed a total $60,240,295 in the North American domestic market, and $42,585,501 outside the United States, making a total of $102,825,796 worldwide gross, but failed to reach domestic projected numbers Jim Carrey brought to his previous movies. Apatow said "people looked at it as a failure because it didn’t make even more money." Despite the critical perception that the movie was a disappointment, it made a profit in excess of its $47 million production budget.


title: The Cable Guy

text: It was released on VHS on December 3, 1996, DVD on September 15, 1997, and a 15th anniversary Blu-ray release on March 1, 2011. Sony re-issued the latter format as a manufacture-on-demand title on December 17, 2019.


title: The Cable Guy

text: On review aggregator Rotten Tomatoes, the film holds an approval rating of 55% based on 80 reviews, with an average rating of 5.7/10. The website's critical consensus states, ""The Cable Guy"s dark flashes of thought-provoking, subversive wit are often—but not always—enough to counter its frustratingly uneven storytelling approach." On Metacritic, the film received a weighted average score of 56 based 28 reviews, indicating "mixed or average reviews". Audiences surveyed by CinemaScore gave the film a grade "C+" on scale of A to F.


title: The Cable Guy

text: "The Cable Guy" has been regarded as having a darker tone than most of Carrey's previous work. Audiences and film critics had mixed reactions to the change. The film was on J. Hoberman's Top 10 best of the year. Roger Ebert included "The Cable Guy" in his worst of the year list for 1996, though colleague Gene Siskel disagreed, calling it "a very good film. [Carrey's] best since "The Mask"". Ebert found Carrey's performance so bizarre and creepy, it undermined the entire story, and felt the movie was more of a dark comedy than was necessary.


title: The Cable Guy

text: In spite of its mixed reception, the film has achieved a cult following, and has been attributed to helping Carrey pursue more serious roles such as "The Truman Show" and "Eternal Sunshine of the Spotless Mind". Carrey named the movie as one his favorite that he worked on:I have odd favorites that may not be for kids, but "The Cable Guy" is one of my favorite movies. I think Ben Stiller did an amazing job, and it's populated with the greatest comedy actors of our day when they were just coming into their power. I love that character. That character is all of us: we were all raised by the TV.


title: The Cable Guy

text: The Cable Guy: Original Motion Picture Soundtrack was released on May 21, 1996 via Work Group. It consists of previously unreleased songs, largely of alternative rock and heavy metal bands, and includes the first solo recording by Jerry Cantrell of Alice in Chains fame. The soundtrack includes Jim Carrey's version of Jefferson Airplane's "Somebody to Love" which was performed by him in the film. It also includes a song from $10,000 Gold Chain, a side project of Pearl Jam lead guitarist Mike McCready. White Zombie's "More Human than Human" is featured in a dramatic scene of the film but was not included on the soundtrack release.


title: The Cable Guy

text: Cantrell's "Leave Me Alone" served as the soundtrack's promotional vehicle and was released as a single, peaking at No. 14 on "Billboard"'s Mainstream Rock Tracks chart. It had a music video that featured various footage from "Cable Guy" in a dark manner typical of Cantrell's style. It also had Jim Carrey's haunting face reaching out of a television screen observing Cantrell. The music video was included as a bonus feature on the 15th-anniversary edition Blu-ray of "The Cable Guy" in 2011.


title: The Cable Guy

text: While the album as a whole was not well received, Stephen Thomas Erlewine of AllMusic noted that "Leave Me Alone" positively "rocks as hard as any Alice in Chains track". The track "Standing Outside a Broken Phone Booth with Money in My Hand" gained popularity for its appearance in the film and reached No. 1 on the "Billboard" Alternative Songs chart in 1996.


title: Man on the Moon (film)

text: Man on the Moon is a 1999 biographical comedy-drama film about the late American entertainer Andy Kaufman, starring Jim Carrey as Kaufman. The film was directed by Miloš Forman and also features Danny DeVito, Courtney Love, and Paul Giamatti.


title: Man on the Moon (film)

text: The story traces Kaufman's steps from childhood through the comedy clubs and television appearances that made him famous, including his memorable appearances on "Saturday Night Live", "Late Night with David Letterman", "Fridays", and his role as Latka Gravas on the sitcom "Taxi", which was popular among viewers but disruptive for Kaufman's co-stars. The film pays particular attention to the various inside jokes, scams, put-ons, and happenings for which Kaufman was famous, most significantly his long-running "feud" with wrestler Jerry "The King" Lawler and his portrayal of the character of bawdy lounge singer Tony Clifton.


title: Man on the Moon (film)

text: It was released on December 22, 1999, in the United States and May 5, 2000, in the United Kingdom by Universal Pictures and Warner Bros. Pictures in some markets. Although the film was unsuccessful commercially and received mixed reviews, Carrey received critical acclaim for his performance and won a Golden Globe, his second in a row after his award for "The Truman Show". His win was in the Musical or Comedy category.


title: Man on the Moon (film)

text: The documentary "" was released in 2017 and chronicles Carrey's performance as Kaufman in the film, a performance he maintained during much of the film's production.


title: Man on the Moon (film)

text: Andy Kaufman is a struggling performer whose act fails in nightclubs because, while the audience wants comedy, he sings children's songs and refuses to tell conventional jokes. As the audience begins to believe that Kaufman may have no real talent, his previously timid "foreign man" character puts on a rhinestone jacket and does a dead-on Elvis impersonation. The audience bursts into applause, realizing Kaufman had tricked them.


title: Man on the Moon (film)

text: Kaufman catches the eye of talent agent George Shapiro, who signs him as a client and immediately lands him a network television series, "Taxi", much to Kaufman's dismay, since he didn't like sitcoms. Because of the money, visibility, and a promise that he can do his own television special, Kaufman accepts the role, turning his foreign man into a mechanic named Latka Gravas. Secretly he hates doing the show and expresses a desire to quit.


title: Man on the Moon (film)

text: Invited to catch a different act at a nightclub, Shapiro witnesses a performance by a rude, loud-mouthed lounge singer, Tony Clifton, whom Kaufman wants to guest-star on "Taxi". Clifton's bad attitude is matched by his horrible appearance and demeanor. But backstage, when he meets Shapiro in person, Clifton takes off his sunglasses and reveals that he is actually Kaufman. Clifton is a "villain character" created by Kaufman and his creative partner, Bob Zmuda. Once again, the gag is on the audience.


title: Man on the Moon (film)

text: Kaufman's profile increases with appearances on "Saturday Night Live", but he has problems with his newfound fame. When performing live, audiences dislike his strange anti-humor and demand that he perform as Latka. At one show, he deliberately antagonizes attendees by reading "The Great Gatsby" aloud from start to finish. Kaufman shows up on the "Taxi" set as Clifton and proceeds to cause chaos until he is removed from the set. He relates to Shapiro that he never knows exactly how to entertain an audience "short of faking my own death or setting the theater on fire."


title: Man on the Moon (film)

text: Kaufman decides to become a professional wrestler — but to emphasize the "villain" angle, he will wrestle only women (hired actresses) and then berate them after winning, declaring himself "Inter-Gender Wrestling Champion." He becomes smitten with one woman he wrestles, Lynne Margulies, and they begin a romantic relationship. His professional issues are deepened when, during an appearance on ABC's live television comedy show "Fridays", Kaufman refuses to speak his lines.


title: Man on the Moon (film)

text: Kaufman feuds publicly with Jerry Lawler, a male professional star wrestler, who challenges him to a "real wrestling match", which Kaufman accepts. Lawler easily overpowers and appears to seriously injure Kaufman. Lawler and an injured Kaufman (wearing a neck brace) appear on NBC's "Late Night with David Letterman", ostensibly to call a truce, but instead the feud escalates and they trade insults. Lawler hits Kaufman, who spews a vicious profanity tirade and throws coffee at Lawler.


title: Man on the Moon (film)

text: Kaufman pays the price when he is voted off from "SNL" following a vote of audience members, weary and bored of his wrestling antics. Shapiro advises Kaufman and Lawler, who are actually the best of friends and have staged the whole feud as a joke, that he thinks they should never work together again. Shapiro later calls Kaufman to inform him that "Taxi" has been canceled. Shapiro is despondent, but Kaufman is not at all bothered.


title: Man on the Moon (film)

text: After a show at a comedy club, Kaufman calls together Lynne, Zmuda, and Shapiro to disclose that he has been diagnosed with a rare form of lung cancer and may die soon. Initially they are not sure whether to believe this, thinking it could be yet another of Kaufman's jokes, with Zmuda actually believing a fake death would be a fantastic prank. With little time to live, Kaufman arranges a booking at Carnegie Hall, his dream venue. The performance is a memorable success, culminating with Kaufman inviting the entire audience out for milk and cookies. As his health deteriorates rapidly, a desperate Kaufman heads to the Philippines to seek a medical miracle through psychic surgery only to find it a hoax, laughing at the irony. He dies soon after. At Kaufman's funeral, friends and loved ones sing along to "This Friendly World" with a video of Kaufman. One year later, in 1985, Tony Clifton appears at Kaufman's tribute at The Comedy Store's main stage, performing "I Will Survive". Zmuda watches in the audience.


title: Man on the Moon (film)

text: Several original members of the cast of "Taxi", including Marilu Henner, Judd Hirsch, Christopher Lloyd, Carol Kane, and Jeff Conaway make cameos, playing themselves. Danny DeVito, who was also in the cast of "Taxi", co-starred in the film but did not appear as himself.


title: Man on the Moon (film)

text: "Man on the Moon" was shot in Los Angeles in the winter of 1998. The film's production is notable for Carrey's rigid method acting, staying in-character as Kaufman both on and off the set for the duration of production. Carrey's adherence to the role reached the extent where he would develop unscripted tics and habits that were previously characteristic of Kaufman himself. Among other examples, Courtney Love noted how Carrey would stuff his clothing with Limburger cheese on the set when playing Kaufman's Tony Clifton character in the film, something Kaufman had done in his own performances of the character.


title: Man on the Moon (film)

text: A documentary, "", was released in November 2017. Using behind-the-scenes footage, the documentary covers the production of "Man on the Moon" with a particular focus on Carrey's method-acting as Kaufman.


title: Man on the Moon (film)

text: The soundtrack for the film was written by rock band R.E.M., whose 1992 song "Man on the Moon" (originally written in honor of Kaufman) gave the film its title. The soundtrack also included the Grammy-nominated song "The Great Beyond", which remains the band's highest-charting single in the United Kingdom.


title: Man on the Moon (film)

text: The film makes a few changes to Kaufman's life story. As Kaufman (played by Carrey) explains in the film's prologue, "All the most important things in my life are changed around and mixed up for dramatic purposes."


title: Man on the Moon (film)

text: The famous Carnegie Hall "milk and cookies" performance, portrayed in the film as one of his last performances after being diagnosed with cancer, had in fact occurred in 1979, five years before Kaufman's death and well before his diagnosis. Also, the film is deliberately ambiguous over whether Kaufman actually died or if this was a hoax as some fans believe.


title: Man on the Moon (film)

text: The film implies that Carol Kane was a member of the "Taxi" cast during the show's first season, which in real life was 1978–79. In actuality, Kane did not make her first appearance on the series until the episode "Guess Who's Coming for Brefnish", which first aired on ABC in January 1980 during the show's second season. The film implies that "Taxi" was canceled only once. However, the show went on for one more season on NBC.


title: Man on the Moon (film)

text: Other inaccuracies include scenes supposedly drawn from "SNL", specifically the first episode's host, who is depicted as having been Richard Belzer but was George Carlin in real life. Belzer also erroneously refers to the show as "Saturday Night Live" during the sequence, but that title wasn't adopted until season two. The scene where Lorne Michaels asks the home viewing audience to vote Kaufman off the show happened in 1982, two years after Michaels left the show as executive producer and Dick Ebersol took over.


title: Man on the Moon (film)

text: After its release, the film attracted some criticism over various events in Kaufman's life that were left out. Max Allan Collins maintained that the filmmakers did not understand Kaufman, and that the film "does not give Kaufman the credit for his genius, that he had a complete intellectual grasp of what he was up to and a showman's instincts for how to play an audience." Significantly, these critics included Kaufman's own father Stanley, who was displeased that little of Andy's early life (before show business) and early career were portrayed.


title: Man on the Moon (film)

text: Sam Simon, season 5 writer on "Taxi", stated in a 2013 interview with Marc Maron for the "WTF with Marc Maron" podcast that the portrayal of Andy on the show was "a complete fiction," that Kaufman was "completely professional" and that he "told you Tony Clifton was him." Simon also stated that sources for these stories were mostly from Bob Zmuda and a "little bit of press and hype," but conceded that Kaufman would have "loved" Zmuda's version of events. However, in 2020, "Screen Rant" journalist Kayla Mosley backed claims that Kaufman was sometimes difficult to work with while he was on "Taxi", and noted that he would only work two times a week on the set, in contrast to the five days a week the other cast and crew members of "Taxi" worked. Kaufman was also reluctant to work on the sitcom and was allowed to appear in only 14 episodes per season as part of his deal with the show's executives. As of 2020, occasional "Taxi" actress Carol Kane was the only "Taxi" cast member to have acknowledged attending his funeral.


title: Man on the Moon (film)

text: On review aggregator website Rotten Tomatoes, the film has an approval rating of 64% based on 121 reviews, with an average rating of 6.2/10. The site's critical consensus reads, "Jim Carrey is eerily dead-on in his portrayal of Andy Kaufman, which helps to elevate "Man on the Moon" above the script's formulaic biopic cliches." Metacritic, which uses a weighted average, assigned a score of 58 out of 100, based on 34 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B−" on an A+ to F scale.


title: Man on the Moon (film)

text: "Man on the Moon" ended a string of Jim Carrey films that had very successful opening weekends, and grossed just $47 million against a budget of $82 million. Although the film received mixed reviews from critics, they were near unanimous in their praise for Jim Carrey's portrayal of Andy Kaufman. Carrey won a Golden Globe for his performance, and the film was nominated for Best Musical or Comedy as well.


title: Moonshot (2022 film)

text: Moonshot is a 2022 American science-fiction romantic comedy film directed by Chris Winterbauer and written by Max Taxe. It stars Cole Sprouse, Lana Condor, Mason Gooding, Emily Rudd, and Zach Braff. The plot follows a college student (Condor) who helps a barista (Sprouse) sneak on board a space shuttle to Mars. The film was released on HBO Max on March 31, 2022, and was removed from the service in August.


title: Moonshot (2022 film)

text: In 2049, Walt works as a barista on a college campus. His dream to go to space becomes attainable with the introduction of the Kovi Industries Student Mars Program, an organization that sends college students to Mars. The program, however, has rejected his offer 37 times due to his lack of knowledge and expertise to further humanity's exploration of the Red Planet. At a college party, he accidentally breaks the Wifi-orb of Sophie, a no-nonsense student whose boyfriend, Calvin, is on Mars. While at the party, he also falls in love with another student, Ginny, who is sent to Mars the next morning.


title: Moonshot (2022 film)

text: A few weeks later, Sophie appears at Walt's cafe in tears due to Calvin accepting a longer stay on Mars, so Walt convinces her to buy a ticket to travel on the next shuttle launch. As she approaches the launch gate, Walt manipulates her into helping him sneak onboard a space shuttle by pretending to be a family member but freaks out when they must claim to be in a relationship on board the shuttle to keep his identity secret.


title: Moonshot (2022 film)

text: Over the course of the trip to Mars, the two grow closer; Walt learns more about Calvin as he claims his identity, and Sophie learns the real Calvin may have been putting her second behind his dreams of terraforming Mars to become more hospitable. During an onboard presentation, Walt is forced to give a presentation about terraforming, a topic he knows nothing about, but convinces two passengers to get married as his speech about love moves the audience, Sophie included.


title: Moonshot (2022 film)

text: As the shuttle approaches Mars, she tells him that she is staying with Calvin and will not help him get to Mars anymore, causing Walt to call her a coward. On Mars, Sophie and Calvin reunite while security arrests Walt. Awaiting his trial, Ginny tells Walt that she found someone new on Mars due to their one-night romance and his subsequent need to find her too off-putting for her to handle. The next day, Walt meets the leader of the Mars program, Leon Kovi, who tells Walt that his company knew about everything he was doing through security cameras on the shuttle and let it slide as a security test, with the program's board of trustees planning to sue Walt once he returned to Earth. Due to his dislike of the board, Kovi had leaked the security footage back on Earth which went viral online. To avoid backlash, Leon offers Walt a contract to avoid any legal problems and stay on Mars if he promotes the company, to which Walt agrees.


title: Moonshot (2022 film)

text: As his life as a barista and online sensation unfold, Walt realizes he is not happy living on Mars. Similarly, realizing she has grown apart from Calvin and his goals, Sophie breaks up with him and boards a ship back to Earth. Seeing his life becoming a pawn for Kovi, Walt also boards the shuttle back to Earth, where he reunites with Sophie and the two share a kiss.


title: Moonshot (2022 film)

text: "Moonshot" is the second film in a four-film deal between HBO Max and the production company Berlanti-Schechter Films. It was shot in Atlanta, Georgia.


title: Moonshot (2022 film)

text: On the review aggregator website Rotten Tomatoes, 64% of 28 critics' reviews are positive, with an average rating of 5.9/10. The website's critical consensus reads, "It's surprisingly ordinary for a romcom set in space, but Lana Condor's performance helps "Moonshot" hit the target more often than not." Metacritic, which uses a weighted average, assigned the film a score of 58 out of 100 based on seven critics, indicating "mixed or average reviews". While some critics called the film predictable, others said it was entertaining and worth watching. They also praised the performances of Sprouse and Condor as well as Winterbauer's direction.


title: Simon Wiesenthal

text: Simon Wiesenthal (31 December 190820 September 2005) was a Jewish Austrian Holocaust survivor, Nazi hunter, and writer. He studied architecture and was living in Lwów at the outbreak of World War II. He survived the Janowska concentration camp (late 1941 to September 1944), the Kraków-Płaszów concentration camp (September to October 1944), the Gross-Rosen concentration camp, a death march to Chemnitz, Buchenwald, and the Mauthausen concentration camp (February to 5 May 1945).


title: Simon Wiesenthal

text: After the war, Wiesenthal dedicated his life to tracking down and gathering information on fugitive Nazi war criminals so that they could be brought to trial. In 1947, he co-founded the Jewish Historical Documentation Centre in Linz, Austria, where he and others gathered information for future war crime trials and aided refugees in their search for lost relatives. He opened the Documentation Centre of the Association of Jewish Victims of the Nazi Regime in Vienna in 1961 and continued to try to locate missing Nazi war criminals. He played a small role in locating Adolf Eichmann, who was captured by the Mossad in Buenos Aires in 1960, and worked closely with the Austrian justice ministry to prepare a dossier on Franz Stangl, who was sentenced to life imprisonment in 1971.


title: Simon Wiesenthal

text: In the 1970s and 1980s, Wiesenthal was involved in two high-profile events involving Austrian politicians. Shortly after Bruno Kreisky was inaugurated as Austrian chancellor in April 1970, Wiesenthal pointed out to the press that four of his new cabinet appointees had been members of the Nazi Party. Kreisky, angry, called Wiesenthal a "Jewish fascist", likened his organisation to the Mafia, and accused him of collaborating with the Nazis. Wiesenthal successfully sued for libel, the suit ending in 1989. In 1986, Wiesenthal was involved in the case of Kurt Waldheim, whose service in the "Wehrmacht" and probable knowledge of the Holocaust were revealed in the lead-up to the 1986 Austrian presidential elections. Wiesenthal, embarrassed that he had previously cleared Waldheim of any wrongdoing, suffered much negative publicity as a result of this event.


title: Simon Wiesenthal

text: With a reputation as a storyteller, Wiesenthal was the author of several memoirs containing tales that are only loosely based on actual events. In particular, he exaggerated his role in the capture of Eichmann in 1960. Wiesenthal died in his sleep at age 96 in Vienna on 20 September 2005 and was buried in the city of Herzliya in Israel. The Simon Wiesenthal Center, headquartered in Los Angeles, is named in his honour.


title: Simon Wiesenthal

text: Wiesenthal was born on 31 December 1908, in Buczacz (Buchach), Kingdom of Galicia and Lodomeria, then part of Austria-Hungary, now Ternopil Oblast, in Ukraine. His father, Asher Wiesenthal, was a wholesaler who had emigrated from the Russian Empire in 1905 to escape the frequent pogroms against Jews. A reservist in the Austro-Hungarian Army, Asher was called to active duty in 1914 at the start of World War I. He died in combat on the Eastern Front in 1915. The remainder of the family—Simon, his younger brother Hillel, and his mother Rosa—fled to Vienna as the Russian army took control of Galicia. The two boys attended a German-language Jewish school. The family returned to Buczacz in 1917 after the Russians retreated. The area changed hands several more times before the war ended in November 1918.


title: Simon Wiesenthal

text: Wiesenthal and his brother attended high school at the Humanistic Gymnasium in Buchach, where classes were taught in Polish. There Simon met his future wife, Cyla Müller, whom he would marry in 1936. Hillel fell and broke his back in 1923 and died the following year. Rosa remarried in 1926 and moved to Dolyna with her new husband, Isack Halperin, who owned a tile factory there. Wiesenthal remained in Buczacz, living with the Müller family, until he graduated from high school—on his second attempt—in 1928.


title: Simon Wiesenthal

text: With an interest in art and drawing, Wiesenthal chose to study architecture. His first choice was to attend the Lwów Polytechnic, but he was turned away because the school's Jewish quota had already been filled. He instead enrolled at the Czech Technical University in Prague, where he studied from 1928 until 1932. He was apprenticed as a building engineer through 1934 and 1935, spending most of that period in Odessa. He married Cyla in 1936 when he returned to Galicia.


title: Simon Wiesenthal

text: Sources give differing reports of what happened next. Wiesenthal's autobiographies contradict each other on many points; he also over-dramatised and mythologised events. One version has Wiesenthal opening an architectural office and finally being admitted to the Lwów Polytechnic for an advanced degree. He designed a tuberculosis sanatorium and some residential buildings during the course of his studies and was active in a student Zionist organisation. He wrote for the "Omnibus", a satirical student newspaper, and graduated in 1939. Author Guy Walters states that Wiesenthal's earliest autobiography does not mention studies at Lwów. Walters quotes a "curriculum vitae" Wiesenthal prepared after World War II as stating he worked as a supervisor at a factory until 1939 and then worked as a mechanic in a different factory until the Nazis invaded in 1941. Wiesenthal's 1961 book "Ich jagte Eichmann" (I chased Eichmann) states that he worked in Odessa as an engineer from 1940 to 1941. Walters says that there is no record of Wiesenthal attending the university at Lwów, and that he does not appear in the "Katalog Architektów i Budowniczych" (Catalogue of Architects and Builders) for the appropriate period.


title: Simon Wiesenthal

text: In Europe, World War II began in September 1939 with the Nazi invasion of Poland. As a result of the partitioning of Poland under the Molotov-Ribbentrop Pact between Germany and the Soviet Union, the city of Lwów was annexed by the Soviets and became known as Lvov in Russian or Lviv in Ukrainian. Wiesenthal's stepfather, still living in Dolyna, was arrested as a capitalist; he later died in a Soviet prison. Wiesenthal's mother moved to Lvov to live with Wiesenthal and Cyla. Wiesenthal bribed an official to prevent his own deportation under Clause 11, a rule that prevented all Jewish professionals and intellectuals from living within of the city, which was under Soviet occupation until the Germans invaded in June 1941.


title: Simon Wiesenthal

text: By mid-July Wiesenthal and other Jewish residents had to register to do forced labour. Within six months, in November 1941 the Nazis had set up the Lwów Ghetto using Jewish forced labour. All Jews had to give up their homes and move there, a process completed in the following months. Several thousand Jews were murdered in Lvov by Ukrainian nationals and German "Einsatzgruppen" in June and July 1941. In his autobiographies, Wiesenthal tells how he was arrested on 6 July, but saved from execution by his former foreman, a man named Bodnar, who was now a member of the Ukrainian Auxiliary Police. There are several versions of the story, which may be apocryphal.


title: Simon Wiesenthal

text: In late 1941, Wiesenthal and his wife were transferred to Janowska concentration camp and forced to work at the Eastern Railway Repair Works. He painted swastikas and other inscriptions on captured Soviet railway engines, and Cyla was put to work polishing the brass and nickel. In exchange for providing details about the railways, Wiesenthal obtained false identity papers for his wife from a member of the Armia Krajowa, a Polish underground organisation. She travelled to Warsaw, where she was put to work in a German radio factory. She spent time in two labour camps as well. Conditions were harsh and her health was permanently damaged, but she survived the war. The couple was reunited in 1945, and their daughter Paulinka was born the following year.


title: Simon Wiesenthal

text: Every few weeks, the Nazis staged a roundup in the Lvov ghetto of people unable to work. These roundups typically took place while the able-bodied were absent doing forced labour. In one such deportation, Wiesenthal's mother and other elderly Jewish women were transported by freight train to Belzec extermination camp and murdered in August 1942. Around the same time, a Ukrainian policeman shot Cyla's mother to death on the front porch of her home in Buczacz while she was being evicted. Between Cyla and Simon Wiesenthal, 89 of their relatives were murdered during the Holocaust.


title: Simon Wiesenthal

text: Forced labourers for the Eastern Railway were eventually kept in a separate closed camp, where conditions were a little better than at the main camp at Janowska. Wiesenthal prepared architectural drawings for Adolf Kohlrautz, the senior inspector, who submitted them under his own name. To obtain contracts, construction companies paid bribes to Kohlrautz, who shared some of the money with Wiesenthal. He was able to pass along further information about the railroads to the underground and occasionally left the compound to obtain supplies, even clandestinely obtaining weapons for the Armia Krajowa and two pistols for himself, which he brought with him when he escaped in late 1943.


title: Simon Wiesenthal

text: According to Wiesenthal, on 20 April 1943, Second Lieutenant Gustav Wilhaus, second in command at the Janowska camp, decided to shoot 54 Jewish intellectuals in celebration of Hitler's 54th birthday. Unable to find enough such people still alive at Janowska, Wilhaus ordered a roundup of prisoners from the satellite camps. Wiesenthal and two other inmates were taken from the Eastern Railway camp to the execution site, a trench deep and long at a nearby sandpit. The men were stripped and led through "the Hose", a six- or seven-foot wide barbed wire corridor to the execution ground. The victims were shot and their bodies allowed to fall into the pit. Wiesenthal, waiting to be shot, heard someone call out his name. He was returned alive to the camp; Kohlrautz had convinced his superiors that Wiesenthal was the best man available to paint a giant poster in honour of Hitler's birthday.


title: Simon Wiesenthal

text: On 2 October 1943, according to Wiesenthal, Kohlrautz warned him that the camp and its prisoners were about to be liquidated. Kohlrautz gave Wiesenthal and fellow prisoner Arthur Scheiman passes to go to town, accompanied by a Ukrainian guard, to buy stationery. The two men escaped out the back of the shop while their guard waited at the front counter.


title: Simon Wiesenthal

text: Wiesenthal did not mention either of these events—or Kohlrautz's part in them—when testifying to American investigators in May 1945, or in an affidavit he made in August 1954 about his wartime persecutions, and researcher Guy Walters questions their authenticity. Wiesenthal variously reported that Kohlrautz was killed on the Soviet Front in 1944 or in the Battle of Berlin on 19 April 1945.


title: Simon Wiesenthal

text: After several days in hiding, Scheiman rejoined his wife, and Wiesenthal was taken by members of the underground to the nearby village of Kulparkow, where he remained until the end of 1943. Soon afterwards the Janowska camp was liquidated; this made it unsafe to hide in the nearby countryside, so Wiesenthal returned to Lvov, where he spent three days hiding in a closet at the Scheimans' apartment. He then moved to the apartment of Paulina Busch, for whom he had previously forged an identity card. He was arrested there, hiding under the floorboards, on 13 June 1944 and taken back to the remains of the camp at Janowska. Wiesenthal tried but failed to commit suicide to avoid being interrogated about his connections with the underground. In the end there was no time for interrogations, as Soviet forces were advancing into the area. SS-"Hauptsturmführer" Friedrich Warzok, the new camp commandant, rounded up the remaining prisoners and transported them to Przemyśl, west of Lvov, where he put them to work building fortifications. By September Warzok and his men were reassigned to the front, and Wiesenthal and the other surviving captives were sent to the Kraków-Płaszów concentration camp.


title: Simon Wiesenthal

text: By October the inmates were evacuated to Gross-Rosen concentration camp, where inmates were suffering from severe overcrowding and a shortage of food. Wiesenthal's big toe on his right foot had to be amputated after a rock fell on it while he was working in the quarry. He was still ill in January when the advancing Soviets forced yet another evacuation, this time on foot, to Chemnitz. Using a broom handle for a walking stick, he was one of the few who survived the march. From Chemnitz the prisoners were taken in open freight cars to Buchenwald, and a few days later by truck to Mauthausen concentration camp, arriving in mid-February 1945. Over half the prisoners did not survive the journey. Wiesenthal was placed in a death block for the mortally ill, where he survived on 200 calories a day until the camp was liberated by the Americans on 5 May 1945. He weighed when he was liberated.


title: Simon Wiesenthal

text: Within three weeks of the liberation of Mauthausen, Wiesenthal had prepared a list of around a hundred names of suspected Nazi war criminals—mostly guards, camp commandants, and members of the Gestapo—and presented it to a War Crimes office of the American Counterintelligence Corps at Mauthausen. He worked as an interpreter, accompanying officers who were carrying out arrests, though he was still very frail. When Austria was partitioned in July 1945, Mauthausen fell into the Soviet-occupied zone, so the American War Crimes Office was moved to Linz. Wiesenthal went with them, and was housed in a displaced persons camp. He served as vice-chairman of the area's Jewish Central Committee, an organisation that attempted to arrange basic care for Jewish refugees and tried to help people gather information about their missing family members.


title: Simon Wiesenthal

text: Wiesenthal worked for the American Office of Strategic Services for a year, and continued to collect information on both victims and perpetrators of the Holocaust. He assisted the Berihah, an underground organisation that smuggled Jewish survivors into the British Mandate for Palestine. Wiesenthal helped arrange for forged papers, food supplies, transportation, and so on. In February 1947, he and 30 other volunteers founded the Jewish Documentation Center in Linz to gather information for future war crimes trials. They collected 3,289 depositions from concentration camp survivors still living in Europe. However, as the US and the Soviet Union lost interest in conducting further trials, a similar group headed by Tuviah Friedman in Vienna closed its office in 1952, and Wiesenthal's closed in 1954. Almost all of the documentation collected at both centres was forwarded to the Yad Vashem archives in Israel. Wiesenthal, employed full-time by two Jewish welfare agencies, continued his work with refugees. As it became clear that the former Allies were no longer interested in pursuing the work of bringing Nazi war criminals to justice, Wiesenthal persisted, believing the survivors were obliged to take on the task. His work became a way to memorialise and remember all the people that had been lost. He told biographer Alan Levy in 1974:


title: Simon Wiesenthal

text: Though most of the Jews still alive in Linz had emigrated after the war, Wiesenthal decided to stay on, partly because the family of Adolf Eichmann lived a few blocks away from him. Eichmann had been in charge of the transportation and deportation of Jews in the Nazi Final Solution to the Jewish Question: a plan finalised at the Wannsee Conference at which Eichmann took the minutes to exterminate all the Jews in Europe. After the war, Eichmann hid in Austria using forged identity papers until 1950, when he left via Italy and moved to Argentina under an assumed name. Hoping to obtain information on Eichmann's whereabouts, Wiesenthal continuously monitored the remaining members of the immediate family in Linz until they vanished in 1952.


title: Simon Wiesenthal

text: Wiesenthal learned from a letter shown to him in 1953 that Eichmann had been seen in Buenos Aires, and he passed along that information to the Israeli consulate in Vienna in 1954. Fritz Bauer, prosecutor-general of the state of Hesse in West Germany, received independent confirmation of Eichmann's whereabouts in 1957, but German agents were unable to find him until late 1959. When Eichmann's father died in 1960, Wiesenthal made arrangements for private detectives to surreptitiously photograph members of the family, as Eichmann's brother Otto was said to bear a strong family resemblance and there were no current photos of the fugitive. He provided these photographs to Mossad agents on 18 February. Zvi Aharoni, one of the Mossad agents responsible for Eichmann's capture in Buenos Aires on 11 May 1960, said the photos were useful in confirming Eichmann's identity. On 23 May Israeli Prime Minister David Ben-Gurion announced Eichmann was under arrest and in Israel. The next day Wiesenthal, while he was being interviewed by reporters, received a congratulatory telegram from Yad Vashem. He immediately became a minor celebrity, and began work on a book about his experiences. "Ich jagte Eichmann: Tatsachenbericht" (I chased Eichmann. A true story) was published six weeks before the trial opened in spring 1961. Wiesenthal helped the prosecution prepare their case and attended a portion of the trial. Eichmann was sentenced to death and was hanged on 1 June 1962.


title: Simon Wiesenthal

text: Meanwhile, both of Wiesenthal's employers terminated his services in 1960, as there were too few refugees left in the city to justify the expense. Wiesenthal opened a new documentation centre (the Documentation Centre of the Association of Jewish Victims of the Nazi Regime) in Vienna in 1961. He became a Mossad operative, for which he received the equivalent of several hundred dollars per month. He maintained files on hundreds of suspected Nazi war criminals and located many, about six of whom were arrested as a result of his activities. Successes included locating and bringing to trial , responsible for the deportation of Jews from the Netherlands, and Franz Murer, the commandant of the Vilna Ghetto. In 1963 Wiesenthal read in the newspaper that Karl Silberbauer, the man who had arrested famed diarist Anne Frank, had been located; he was serving on the police force in Vienna. Wiesenthal's publicity campaign led to Silberbauer being temporarily suspended from the force, but he was never prosecuted for arresting the Frank family.


title: Simon Wiesenthal

text: Despite Wiesenthal's protests, in late 1963 his centre in Vienna was taken over by a local community group, so he immediately set up a new independent office, funded using donations and his stipend from the Mossad. As the 20-year statute of limitations for German war crimes was about to expire, Wiesenthal began lobbying to have it extended or removed entirely. In March 1965 the Bundestag deferred the matter for five years, effectively extending the expiration date. Similar action was taken by the Austrian government. But as time went on, it became more difficult to obtain prosecutions. Witnesses grew older and were less likely to be able to offer valuable testimony. Funding for trials was inadequate, as the governments of Austria and Germany became less interested in obtaining convictions for wartime events, preferring to forget the Nazi past.


title: Simon Wiesenthal

text: Franz Stangl was a supervisor at the Hartheim Euthanasia Centre, part of Action T4, an early Nazi euthanasia programme that was responsible for the deaths of over 70,000 mentally ill or physically deformed people in Germany. In February 1942, he was commander at the Sobibor extermination camp and in August of the same year he was transferred to Treblinka. During his time at these camps, he oversaw the deaths of nearly 900,000 people. While under U.S. detention for two years, he remained unidentified as a war criminal because so few witnesses had survived Sobibor and Treblinka that authorities never realised who he was. He escaped while on a roadwork detail in Linz in May 1948. After he made his way to Rome, the Caritas relief agency provided him with a Red Cross passport and a boat ticket to Syria. His family joined him there a year later and they emigrated to Brazil in 1951.


title: Simon Wiesenthal

text: It was probably Stangl's former son-in-law who informed Wiesenthal of Stangl's whereabouts in 1964. Concerned that Stangl would be warned and escape, Wiesenthal quietly prepared a dossier with the assistance of Austrian Minister of Justice Hans Klecatsky. Stangl was arrested outside his home in São Paulo on 28 February 1967 and was extradited to Germany on 22 June. A month later Wiesenthal's book "The Murderers Among Us" was released. Wiesenthal's publishers advertised that he had been responsible for locating over 800 Nazis, a claim that had no basis in fact but was nonetheless repeated by reputable newspapers such as the "New York Times". Stangl was sentenced to life in prison and died of heart failure in June 1971, having confessed his guilt to biographer Gitta Sereny the previous day.


title: Simon Wiesenthal

text: Known as "the Mare of Majdanek", Hermine Braunsteiner was a guard who served at Majdanek and Ravensbrück concentration camps. A cruel and sadistic woman, she earned her nickname for her propensity to kick her victims to death. She served a three-year sentence in Austria for her activities in Ravensbrück, but had not yet been charged for any of her crimes at Majdanek when she emigrated to the United States in 1959. She became an American citizen in 1963.


title: Simon Wiesenthal

text: Wiesenthal was first told about Braunsteiner in early 1964 via a chance encounter in Tel Aviv with someone who had seen her performing selections at Majdanek—deciding who was to be assigned to slave labour and who was to murdered immediately in the gas chambers. When he returned to Vienna he had an operative visit one of her relatives to clandestinely collect information. Wiesenthal soon traced Braunsteiner's whereabouts to Queens, New York, so he notified the Israeli police and the "New York Times". Despite Wiesenthal's efforts to expedite the matter, Braunsteiner was not extradited to Germany until 1973. Her trial was part of a joint indictment with nine other defendants accused of killing 250,000 people at Majdanek. She was sentenced to life imprisonment in 1981, was released on health grounds in 1996, and died in 1999.


title: Simon Wiesenthal

text: Josef Mengele was a medical officer assigned to Auschwitz concentration camp from 1943 until the end of the war. As well as making most of the selections of inmates as they arrived by train from all over Europe, he performed unscientific and usually deadly experiments on the inmates. He left the camp in January 1945 as the Red Army approached and was briefly in American custody in Weiden in der Oberpfalz, but was released. He took work as a farm hand in rural Germany, remaining until 1949, when he decided to flee the country. He acquired a Red Cross passport and left for Argentina, setting up a business in Buenos Aires in 1951. Acting on information received from Wiesenthal, West German authorities tried to extradite Mengele in 1960, but he could not be found; he had in fact moved to Paraguay in 1958. He moved to Brazil in 1961 and lived there until he drowned while swimming in 1979.


title: Simon Wiesenthal

text: Wiesenthal claimed to have information that placed Mengele in several locations: on the Greek island of Kythnos in 1960, Cairo in 1961, in Spain in 1971, and in Paraguay in 1978, the latter eighteen years after he had left. In 1982, he offered a reward of $100,000 for Mengele's capture and insisted as late as 1985—six years after Mengele's death—that he was still alive. The Mengele family admitted to authorities in 1985 that he had died in 1979; the body was exhumed and its identity was confirmed. Earlier that year Wiesenthal had served as one of the judges at a mock trial of Mengele, held in Jerusalem.


title: Simon Wiesenthal

text: The Simon Wiesenthal Centre in Los Angeles was founded in 1977 by Rabbi Marvin Hier, who paid Wiesenthal an honorarium for the right to use his name. The centre helped with the campaign to remove the statute of limitations on Nazi crimes and continues the hunt for suspected Nazi war criminals, but today its primary activities include Holocaust remembrance, education, and fighting antisemitism. Wiesenthal was not always happy with the way the centre was run. He thought the centre's Holocaust museum was not dignified enough and that he should have a larger say in the overall operations. He even wrote to the board of directors requesting Hier's removal, but in the end had to be content with being a figurehead.


title: Simon Wiesenthal

text: Shortly after Bruno Kreisky was inaugurated as Austrian chancellor in April 1970, Wiesenthal pointed out to the press that four of his new cabinet appointees had been members of the Nazi Party. In an address in June, Kreisky's Minister of Education and Culture Leopold Gratz characterised Wiesenthal's Documentation Centre of the Association of Jewish Victims of the Nazi Regime as a private spy ring, invading the privacy of innocent parties. In an interview a week later, Kreisky himself described Wiesenthal as a "Jewish fascist", a remark he later denied making. Wiesenthal discovered that he would be unable to sue, because under Austrian law Kreisky was protected by parliamentary immunity.


title: Simon Wiesenthal

text: When his re-election in 1975 seemed unsure, Kreisky proposed that his Social Democratic Party should form a coalition with the Freedom Party, headed by Friedrich Peter. Wiesenthal had documents proving that Peter had been a member of the 1 SS Infantry Brigade, a unit that had exterminated over 13,000 Jewish civilians in Ukraine in 1941–42. He decided not to reveal this information to the press until after the election, but forwarded his dossier to President Rudolf Kirchschläger. Peter denied having participated in, or having knowledge of, any atrocities. In the end, Kreisky's party won a clear majority and did not form the coalition.


title: Simon Wiesenthal

text: In a press conference a short time after the election and Wiesenthal's revelations, Kreisky said Wiesenthal used "the methods of a quasi-political Mafia." Wiesenthal filed a libel lawsuit (although Kreisky had the power to declare immunity if he so chose), and when Kreisky later accused Wiesenthal of being an agent of the Gestapo, working with the Judenrat in Lvov, these accusations were incorporated into the lawsuit as well. The suit was decided in Wiesenthal's favour in 1989, but after Kreisky's death nine months later his heirs refused to pay. When the relevant archives were later opened for research, no evidence was found that Wiesenthal had been a collaborator.


title: Simon Wiesenthal

text: When Kurt Waldheim was named secretary-general of the United Nations in 1971, Wiesenthal reported—without checking very thoroughly—that there was no evidence that he had a Nazi past. This analysis had been supported by the opinions of the American Counterintelligence Corps and Office of Strategic Services when they examined his records right after the war. However, Waldheim's 1985 autobiography did not include his war service following his recuperation from a 1941 injury. When he returned to active duty in 1942, he was posted to Yugoslavia and Greece, and had knowledge of murders of civilians that took place in those locations during his service there. The Austrian news magazine "Profil" published a story in March 1986—during his campaign for the presidency of Austria—that Waldheim had been a member of the "Sturmabteilung" (SA). The "New York Times" soon reported that Waldheim had failed to reveal all of the facts about his war service. Wiesenthal, embarrassed, attempted to help Waldheim defend himself. The World Jewish Congress investigated the issue, but the Israeli attorney general concluded that their material was insufficient evidence for a conviction. Waldheim was elected president in July 1986. A panel of historians tasked with investigating the case issued a report eighteen months later. They concluded that, while there was no evidence that Waldheim had committed atrocities, he must have known they were occurring, yet did nothing. Wiesenthal unsuccessfully demanded that Waldheim resign. The World Jewish Congress successfully lobbied to have Waldheim barred from entering the United States.


title: Simon Wiesenthal

text: In 1968, Wiesenthal published "Zeilen der hoop. De geheime missie van Christoffel Columbus" (translated in 1972 as "Sails of Hope: The Secret Mission of Christopher Columbus"), which was his first non-fiction book not on the subject of the Holocaust. In the book, Wiesenthal put forward his theory that Christopher Columbus was a Sephardi Jew from Spain who practised his religion in secret to avoid persecution. (The consensus of most historians is that Columbus came from the Republic of Genoa, on the northwestern coast of present-day Italy). Wiesenthal argued that the quest for the New World was not motivated by wealth or fame, but rather by Columbus's desire to find a place of refuge for the Jews, who were suffering immense persecution in Spain at the time (and in 1492 would be subjected to the Edict of Expulsion). Wiesenthal also believed that Columbus's concept of "sailing west" was based on Biblical prophecies (certain verses in the Book of Isaiah) rather than any prior geographical knowledge.


title: Simon Wiesenthal

text: Wiesenthal was nominated for the Nobel Peace Prize in 1985, the fortieth anniversary of the end of the war. Rumour had it that the Nobel Committee would give the prize to a Holocaust-related candidate. Fellow Holocaust survivor and author Elie Wiesel, also nominated, began a campaign in hopes of winning the prize, travelling to France, Ethiopia and Oslo for speaking tours and humanitarian work. Rabbi Hier of the Wiesenthal Centre urged Wiesenthal to lobby for the prize as well, but other than delivering a lecture in Oslo, Wiesenthal did little to promote his candidacy. When Wiesel was awarded the 1986 prize, Wiesenthal claimed the World Jewish Congress must have influenced the committee's decision, a claim the WJC denied. Biographer Tom Segev speculates that the loss may have been because of the negative publicity over the Waldheim affair.


title: Simon Wiesenthal

text: Wiesenthal received many death threats over the years. After a bomb placed by neo-Nazis exploded outside his house in Vienna on 11 June 1982, police guards were stationed outside his home 24 hours a day. Cyla found the stressful nature of her husband's career and the dragged-out legal matters regarding Kreisky to be overwhelming, and she sometimes suffered from depression.


title: Simon Wiesenthal

text: Wiesenthal spent time at his office at the Documentation Centre of the Association of Jewish Victims of the Nazi Regime in Vienna even as he approached his 90th birthday. He finally retired in October 2001, when he was 92. The last Nazi he had a hand in bringing to trial was "Untersturmführer" Julius Viel, who was convicted in 2001 of shooting seven Jewish prisoners. "I have survived them all. If there were any left, they'd be too old and weak to stand trial today. My work is done," said Wiesenthal. Cyla died on 10 November 2003, at age 95, and Wiesenthal died on 20 September 2005, age 96. He was buried in Herzliya, Israel.


title: Simon Wiesenthal

text: In a statement on Wiesenthal's death, Council of Europe chairman Terry Davis said, "Without Simon Wiesenthal's relentless effort to find Nazi criminals and bring them to justice, and to fight anti-Semitism and prejudice, Europe would never have succeeded in healing its wounds and reconciling itself. He was a soldier of justice, which is indispensable to our freedom, stability and peace."


title: Simon Wiesenthal

text: In 2010 the Austrian and Israeli governments jointly issued a commemorative stamp honouring Wiesenthal. Wiesenthal became an avid stamp collector after the war, following advice from his doctors to take up a hobby to help him relax. In 2006 his collection of Zemstvo stamps sold at auction for €90,000 after his death.


title: Simon Wiesenthal

text: Wiesenthal was portrayed by Israeli actor Shmuel Rodensky in the film adaptation of Frederick Forsyth's "The Odessa File" (1974). After the film's release, Wiesenthal received many reports of sightings of the subject of the film, Eduard Roschmann, commandant of the Riga Ghetto. These sightings proved to be false alarms, but in 1977 a person living in Buenos Aires who saw the movie reported to police that Roschmann was living nearby. The fugitive escaped to Paraguay, where he died of a heart attack a month later. In Ira Levin's novel "The Boys from Brazil", the character of Yakov Liebermann (called Ezra Liebermann and played by Laurence Olivier in the film) is modelled on Wiesenthal. Olivier visited Wiesenthal, who offered advice on how to play the role. Wiesenthal attended the film's New York premiere in 1978. Ben Kingsley portrayed him in the HBO film "" (1989). Judd Hirsch portrayed him in the Amazon Prime Video series "Hunters" (2020).


title: Simon Wiesenthal

text: Wiesenthal has been the subject of several documentaries. "The Art of Remembrance: Simon Wiesenthal" was produced in 1994 by filmmakers Hannah Heer and Werner Schmiedel for River Lights Pictures. The documentary "I Have Never Forgotten You: The Life and Legacy of Simon Wiesenthal", narrated by Nicole Kidman, was released by Moriah Films in 2007. "Wiesenthal" is a one-person show written and performed by Tom Dugan that premiered in 2014.


title: Simon Wiesenthal

text: A number of Wiesenthal's books contain conflicting stories and tales, many of which were invented. Several authors, including Segev and British author Guy Walters, feel that Wiesenthal's autobiographies are not reliable sources of information about his life and activities. For example, Wiesenthal would describe two people fighting over one of the lists he had prepared of survivors of the Holocaust; the two look up and recognise each other and have a tearful reunion. In one account it is a husband and wife, and in another telling it is two brothers. Wiesenthal's memoirs variously claim he had spent time in as many as eleven concentration camps; the actual number was five. A drawing he made in 1945 that he claimed was a scene he witnessed in Mauthausen had actually been sketched from photos that appeared in "Life" magazine that June. He particularly over-emphasised his role in the capture of Eichmann, claiming that he prevented Veronika Eichmann from having her husband declared dead in 1947, when in fact the declaration was denied by government officials. Wiesenthal said that he had retained his Eichmann file when he sent his research materials to Yad Vashem in 1952; in fact he sent all his materials there, and it was his counterpart, Tuviah Friedman in Vienna, who had retained materials on Eichmann. Isser Harel, director of the Mossad at the time, has stated that Wiesenthal had no role in the capture of Eichmann.


title: Simon Wiesenthal

text: Walters and Segev both noted inconsistencies between Wiesenthal's stories and his actual achievements. Segev concluded that Wiesenthal lied because of his storytelling nature and survivor guilt. Daniel Finkelstein described Walters's research in "Hunting Evil" as impeccable and quoted Ben Barkow: "Accepting that Wiesenthal was a showman and a braggart and, yes, even a liar, can live alongside acknowledging the contribution he made".


title: Simon Wiesenthal

text: In 1979, Wiesenthal told "The Washington Post": "I have sought with Jewish leaders not to talk about 6 million Jewish dead [in the Holocaust], but rather about 11 million civilians dead, including 6 million Jews." In a 2017 interview, Yehuda Bauer said that he had told Wiesenthal not to use this figure. "I said to him, 'Simon, you are telling a lie,' ... [Wiesenthal replied] 'Sometimes you need to do that to get the results for things you think are essential.'" According to Bauer and other historians, Wiesenthal chose the figure of 5 million non-Jewish victims because it was just lower than the six million Jews who were murdered, but high enough to attract sympathy from non-Jews. The figure of eleven million Nazi victims became popular and was referred to by President Jimmy Carter in the executive order establishing the United States Holocaust Memorial Museum.


title: 5.45×39mm

text: The 5.45×39mm cartridge is a rimless bottlenecked intermediate cartridge. It was introduced into service in 1974 by the Soviet Union for use with the new AK-74. The 5.45×39mm gradually supplemented and then largely replaced the 7.62×39mm cartridge in Soviet and Warsaw Pact service as the primary military service rifle cartridge.


title: 5.45×39mm

text: The 5.45×39mm cartridge was developed in the early 1970s by a group of Soviet designers and engineers under the direction of M. Sabelnikov. Further group members were: L. I. Bulavsky, B. B. Semin, M. E. Fedorov, P. F. Sazonov, V. Volkov, V. A. Nikolaev, E. E. Zimin and P. S. Korolev. The 5.45×39mm couples a sensible case volume (1.75 ml) to bore area (23.99 mm/0.2399 cm) ratio with ample space for loading relatively long slender projectiles that can provide good aerodynamic efficiency and external ballistic performance for the projectile diameter.


title: 5.45×39mm

text: The 5.45×39mm is an example of an international tendency towards relatively small-sized, lightweight, high-velocity military service cartridges. Cartridges like the 5.45×39mm, 5.56×45mm NATO and Chinese 5.8×42mm allow a soldier to carry more ammunition for the same weight compared to their larger and heavier predecessor cartridges, have favourable maximum point-blank range or "battle zero" characteristics and produce relatively low bolt thrust and free recoil impulse, favouring lightweight arms design and automatic fire accuracy.


title: 5.45×39mm

text: The Soviet original military issue "7N6" cartridge variant introduced in 1974 is loaded with full metal jacket bullets that have a somewhat complex construction. The long boat-tail projectile's jacket is clad in gilding metal. The unhardened steel (steel 10) rod penetrator core is covered by a thin lead inlay which does not fill the entire point end, leaving a hollow cavity inside the nose. The bullet is cut to length during the manufacturing process to give the correct weight. The 7N6 uses a boat-tail design to reduce drag and there is a small lead plug crimped in place in the base of the bullet. The lead plug, in combination with the air space at the point of the bullet, has the effect of moving the bullet's center of gravity to the rear; the hollow air space also makes the bullet's point prone to deformation when the bullet strikes anything solid, inducing yaw. The brown-lacquered steel case is Berdan primed. Its length makes it slightly longer than the 7.62×39mm case which measures exactly . The primer has a copper cup and is sealed with a heavy red lacquer. The propellant charge is a ball powder with similar burning characteristics to the WC844 powder used in 5.56×45mm NATO ammunition. The 7N6 cartridge weight is .


title: 5.45×39mm

text: Tests indicate the free recoil energy delivered by the 5.45×39mm AK-74 assault rifle is , compared to delivered by the 5.56×45mm NATO in the M16 assault rifle and delivered by the 7.62×39mm in the AKM assault rifle.


title: 5.45×39mm

text: Military 5.45×39mm ammunition was produced in the former Soviet Union, GDR and Yugoslavia, and is produced in Bulgaria, Poland and Romania. In the former Soviet Union this ammunition is produced in Russia, Kyrgyzstan, Uzbekistan and Ukraine.


title: 5.45×39mm

text: Americans would define the shoulder angle at ≈ 20.3°. The common rifling twist rate for this cartridge is 255 mm (1 in 10 inches), 4 grooves, Ø lands = 5.40 mm, Ø grooves = 5.60 mm, land width = 2.60 mm and the primer type is either berdan or small rifle.


title: 5.45×39mm

text: According to the official C.I.P. (Commission Internationale Permanente pour l'Epreuve des Armes à Feu Portatives) rulings the 5.45×39mm can handle up to P piezo pressure. In C.I.P. regulated countries every rifle cartridge combo has to be proofed at 125% of this maximum C.I.P. pressure to certify for sale to consumers. This means that 5.45×39mm chambered arms in C.I.P. regulated countries are currently (2014) proof tested at PE piezo pressure.


title: 5.45×39mm

text: Early ballistics tests demonstrated a pronounced tumbling effect with high speed cameras. Some Western authorities believed this bullet was designed to tumble in flesh to increase wounding potential. At the time, it was believed that yawing and cavitation of projectiles were primarily responsible for tissue damage. The tumbling effect was caused by the hollow point of the bullet - as the bullet strikes a target, the core inside the bullet flies forward, shifting the center of gravity and causing the bullet to tumble. Martin Fackler conducted a study with an AK-74 assault rifle using live pigs and ballistic gelatin; "The result of our preset test indicate that the AK-74 bullet acts in the manner expected of a full-metal-cased military ammunition—it does not expand or fragment when striking soft tissues". Multiple x-rays done on human tissue support this assertion. The average frequency of fragmentation with 7N6 fired into extremities with injuries was 18%. This is compared to 57% with M193 5.56x45 in the same testing. Fragmentation of 5.45 mm bullets was observed predominantly in wounds of the lower extremities with fractures of long bones. Most organs and tissue were too flexible to be severely damaged by the temporary cavity effect caused by yaw and cavitation of a projectile. With the 5.45 mm bullet, tumbling produced a temporary cavity twice, at depths of and . This is similar to (but more rapid than) modern 7.62×39mm ammunition and to (non-fragmenting) 5.56 mm ammunition.


title: 5.45×39mm

text: Military 5.45×39mm rounds offer better penetration over (fragmenting) military 5.56×45mm NATO rounds.


title: 5.45×39mm

text: According to the Russian Defense Ministry's third Central Research Institute the Russian military should consider switching back to improved 7.62×39mm ammunition due to 5.45×39mm penetration insufficiency against body armor at longer ranges. However, the change is yet to happen due to the development of the 7N39 cartridge with great penetration capabilities.


title: 5.45×39mm

text: As body armor saw increasing use in militaries, the original 7N6 standard service cartridge bullet construction was changed several times to improve penetration. This resulted in the 7N6M, 7N10, 7N22, 7N24 and 7N39 variants.


title: 5.45×39mm

text: The "7N6M" (M—Russian: "Модернизированный"; "Modernizirovanniy" or "modernized") cartridge was introduced in 1987. In contrast to the original 7N6 unhardened steel rod penetrator the 7N6M rod penetrator is made of steel 65 and hardened to 60 HRC. The 7N6M boat-tail bullet can penetrate a 6 mm thick St3 steel plate at 300 m and 6Zh85T body armour at 80 m. 7N6(M) bullets have a red identification ring above the cartridge neck. The US Army's Ballistic Research Laboratory measured a ballistic coefficient (G7 BC) of 0.168 and form factor (G7 "i") of 0.929 for the 7N6(M) projectile, which indicates good aerodynamic efficiency and external ballistic performance for the bullet diameter. The rounds are loaded to produce a maximal pressure of .


title: 5.45×39mm

text: The Bureau of Alcohol, Tobacco, Firearms and Explosives classified the 7N6 cartridge as "armor piercing handgun ammunition" on 7 April 2014, and, as such, it is illegal to import from Russia to the United States.


title: 5.45×39mm

text: The "7N10" "improved penetration" cartridge was introduced in 1992. The 7N10 boat-tail bullet weighs and the weight of the lengthened sleeker steel (high-carbon steel U12A) penetrator made of steel 70 was increased to and the lead plug in front of it was discarded. The hollow cavity at the front of these projectiles was reduced significantly compared to previous 7N6(M) projectiles.


title: 5.45×39mm

text: In 1994 the 7N10 design was improved by filling the remaining hollow cavity in the projectiles front with lead and reducing the weight of the penetrator to resulting in a bullet weighing . Upon impacting a hard target, soft lead is pressed sideways by the steel penetrator, tearing the jacket. It has a ballistic coefficient (G1 BC) of approximately 0.351 and (G7 BC) of approximately 0.176.


title: 5.45×39mm

text: The 7N10 cartridge replaced the previous variants as standard Russian service round and can penetrate a 16 mm thick St3 steel plate at 100 m and 6Zh85T body armour at 200 m. 7N10 bullets have a violet/purple identification ring above the cartridge neck. The 7N10 and 7N6(M) cartridges have practically identical external ballistic characteristics, meaning they can share identical sighting lines and optics on firearms. The rounds are loaded to produce a maximal pressure of .


title: 5.45×39mm

text: The "7N22" armour-piercing bullet, introduced in 1998, has a sharp-pointed steel penetrator made of steel U12A and retains the soft lead plug in the nose for jacket discarding. 7N22 boat-tail bullets weigh and can be identified by their red identification ring above the cartridge neck and a black tip. It has a ballistic coefficient (G7 BC) of approximately 0.180. The rounds are loaded to produce a maximal pressure of .


title: 5.45×39mm

text: The "7N24" "super-armor-piercing" cartridge, introduced in 1999, has a stub cone nosed penetrator made of tungsten carbide (hard alloy VK8). The 7N24 round is loaded with a projectile containing a penetrator which is fired with a muzzle velocity of yielding muzzle energy. The rounds are loaded to produce a maximal pressure of . 7N24 bullets have a black identification ring above the cartridge neck.


title: 5.45×39mm

text: The "7N39" armor-piercing cartridge, introduced in 2013, has a penetrator made of a tungsten carbide (92%) and cobalt (8%) alloy. The round is loaded with a bullet containing a penetrator which is fired at a muzzle velocity of yielding muzzle energy. The rounds are loaded to produce a maximal pressure of . 7N39 cartridges have a black identification ring above the cartridge neck.


title: 5.45×39mm

text: Besides that the tracer cartridges "7T3" and "7T3M" were developed. The 7T3 production bullet length was long and weighed . After 1976 a new lighter and shorter long bullet was selected as a replacement for the original bullet. These bullets can be identified by their green marked tips. The tracer projectile has a shorter ogival profile and for 7T3 ammunition burns out to and for 7T3M ammunition ignites at burning out to . The rounds are loaded to produce a maximal pressure of .


title: 5.45×39mm

text: For training purposes the blank cartridges "7H3", "7H3M" and "7Kh3" were developed. These rounds have a hollow white plastic imitation projectile. When these training rounds are used, the barrel of the gun is fitted at the muzzle with a blank fire adapter to produce a gas pressure build-up for cycling the gun, as well as a breakup aid for their plastic projectiles.


title: 5.45×39mm

text: For instruction purposes the "7H4" training or dummy cartridge (which has longitudinal grooves) was developed.


title: 5.45×39mm

text: For special purposes the "7U1" subsonic cartridge with a black and green painted meplat and "CAP" (cartridge for underwater) were developed.


title: 5.45×39mm

text: The 7U1 subsonic cartridge weight is and is loaded with a projectile which is fired with a muzzle velocity of yielding muzzle energy. Accuracy of fire at (R) is


title: 5.45×39mm

text: The 5.45×39mm was developed by the Soviet Union for military use and it was not intended to create civilian weapons in this chambering. When 5.45×39mm ammunition finally became available for sale to civilians, several arms manufacturers started to offer semi-automatic AK-74 variants in the calibre for civilian use. Sometimes these weapons combine parts originating from Russia or Eastern European states and parts produced elsewhere.


title: 5.45×39mm

text: Only a few civilian 5.45×39mm weapons were developed and commercially offered. Non-AK-74 rifles and commercial offerings include the East German SSG 82 bolt action rifle and the Russian CRS-98 "Vepr-5, 45" semi-automatic carbine and Saiga semi-automatic rifle. In May 2008 the Smith & Wesson M&P15R was introduced. This was a standard AR-15 rifle chambered for the 5.45×39mm cartridge and was Smith & Wesson's first AR-variant rifle in a chambering other than 5.56×45mm NATO and is no longer in current (2012) production. The civilian version of the Tavor TAR-21 rifle produced for the US market includes an optional 5.45×39mm conversion kit.


title: 5.45×39mm

text: The US ammunition manufacturer Hornady produces commercial polymer-coated steel case 5.45×39mm ammunition loaded with polymer tipped V-MAX bullets with a stated ballistic coefficient (G1 BC) of 0.285.


title: 5.45×39mm

text: The Russian ammunition manufacturer Barnaul Cartridge Plant also offers several Berdan primed commercial sporting and hunting 5.45×39mm cartridges. Barnaul states that their 5.45×39mm cartridges produce a maximal pressure of 294,2 MPa (41,054 psi) and have a bullet dispersion R of at a range of , meaning every shot of a shot group will be within a circle of the mentioned diameter at . The American firearms corporation Century International Arms offers Ukrainian made 5.45×39mm cartridges with steel casings and bi-metal (copper/steel) jacketed bullets under the Red Army Standard Ammunition brand. The Russian manufacturer Tula Arms Plant states that its Tula Ammunition cartridges comply with the 5.45×39mm C.I.P. rulings producing a maximal pressure of 302.7 MPa (43,900 psi) and keeps their qualities under various climatic and weather conditions independent of the season and at a temperature range from . Tula's full metal jacket bullet has a stated ballistic coefficient (G1 BC) of 0.329 and its hollow-point bullet has a stated ballistic coefficient (G1 BC) of 0.301.


title: Will Geer

text: Will Geer (born William Aughe Ghere; March 9, 1902 – April 22, 1978) was an American actor, musician, and social activist, who was active in labor organizing and other movements in New York and Southern California in the 1930s and 1940s. In California he befriended rising singer Woody Guthrie. They both lived in New York for a time in the 1940s. He was blacklisted in the 1950s by Hollywood after refusing, in testimony before Congress, to name persons who had joined the Communist Party.


title: Will Geer

text: In his later years, he was well known for his role as the grandfather figure Zebulon Walton in the TV series "The Waltons" until his death.


title: Will Geer

text: Geer was born in Frankfort, Indiana, the son of Katherine (née Aughe), a teacher, and Roy Aaron Ghere, a postal worker. His father left the family when he was 11 years old. He was deeply influenced by his grandfather, who taught him the botanical names of the plants in his native state. Geer started out to become a botanist, studying the subject and obtaining a master's degree at the University of Chicago. While at Chicago, he was a member of Lambda Chi Alpha fraternity.


title: Will Geer

text: Anglicizing his name, Geer began his acting career touring in tent shows and on riverboats. He worked on several left-oriented documentaries, including narrating Sheldon Dick's "Men and Dust", about silicosis among miners.


title: Will Geer

text: He created the role of Mr. Mister in Marc Blitzstein's 1937 "The Cradle Will Rock", played Candy in John Steinbeck's theatrical adaptation of his novella "Of Mice and Men", and appeared in numerous plays and revues throughout the 1940s. From 1948 to 1951, he appeared in more than a dozen movies, including "Winchester '73" (as Wyatt Earp), "Broken Arrow", "Comanche Territory" (all 1950) and "Bright Victory" (1951).


title: Will Geer

text: He became a dedicated activist, touring government work camps of the Civilian Conservation Corps in the 1930s with folk singers such as Burl Ives and Woody Guthrie (whom he introduced to the "People's World" and the "Daily Worker"). In 1956, the duo released an album together on Folkways Records, titled "Bound for Glory: Songs and Stories of Woody Guthrie." In his biography, Harry Hay described Geer's activism and their activities while organizing for the strike. He is credited with introducing Guthrie to Pete Seeger at the 'Grapes of Wrath' benefit which he organized in 1940 for migrant farm workers.


title: Will Geer

text: He acted with the Group Theatre (New York) studying under Harold Clurman, Cheryl Crawford and Lee Strasberg. He acted in radio, appearing as Mephistopheles (the Devil) in the 1938 and 1944 productions of Norman Corwin's "The Plot to Overthrow Christmas". He also acted in the radio soap opera "Bright Horizon".


title: Will Geer

text: Geer was blacklisted in the early 1950s for refusing to testify before the House Committee on Un-American Activities. As a result, he appeared in very few films over the next decade. Among them was "Salt of the Earth" (1954) which starred and was produced, directed and written by blacklisted Hollywood personnel. It told the story of a miners' strike in New Mexico from a pro-union standpoint. The film was denounced as "subversive", and faced difficulties in its production and distribution as a consequence.


title: Will Geer

text: In 1951, Geer founded the Will Geer Theatricum Botanicum in Topanga, California, with his wife, actress Herta Ware. He combined his acting and botanical careers at the Theatricum, cultivating every plant mentioned in Shakespeare's plays.


title: Will Geer

text: During the late 1950s and early 1960s, he played several seasons at the American Shakespeare Festival in Stratford, Connecticut. In addition, he created a second Shakespeare Garden on the theater's grounds.


title: Will Geer

text: By this time, he was working sporadically again on Broadway. In 1964, he was nominated for the Tony Award for Best Featured Actor in a Musical for "110 in the Shade". In 1967 he performed a soliloquy as the prosecutor delivering the closing argument against the two murderers in the film "In Cold Blood". In 1972, he played the part of Bear Claw in "Jeremiah Johnson".


title: Will Geer

text: In 1972, he was cast as Zebulon Walton, the family patriarch on "The Waltons," a role he took over from Edgar Bergen, who played the character in the TV movie upon which the series was based. He won an Emmy for Outstanding Supporting Actor in a Drama Series for "The Waltons" in 1975.


title: Will Geer

text: When he died, shortly after completing the sixth season of "The Waltons", the death of his character was written into the show's script. His final episode, the last episode of the 1977–1978 season, depicted his being reunited with his onscreen wife Esther (played by Ellen Corby; she had been absent for the entire season, due to a stroke). His character was mourned onscreen during the first episode of the 1978–1979 season, titled "The Empty Nest".


title: Will Geer

text: Geer married actress Herta Ware in 1934. He and Ware had three children, Kate Geer, Thad Geer, and actress Ellen Geer. Ware also had a daughter, actress Melora Marshall, from another marriage. Although he and Ware divorced in 1954, they remained close for the rest of their lives.


title: Will Geer

text: In 1934 he met Harry Hay at the Tony Pastor Theatre where Geer worked as an actor. They became lovers. He and Hay participated in a milk strike in Los Angeles. Later that year, he and Hay performed in support of the San Francisco General Strike, where they witnessed police firing on strikers, killing two. He was a committed leftist, with Hay later describing him as his political mentor. He introduced Hay to Los Angeles' leftist community, and together they took part in activism, joining demonstrations for laborers' rights and the unemployed, and on one occasion handcuffed themselves to lampposts outside UCLA to hand out leaflets for the American League Against War and Fascism. He became a member of the Communist Party of the United States in 1934. After Hay had become increasingly politicized, Geer introduced him to the Party. In 1934, he and Hay gave support to a labor strike of the port of San Francisco, part of the 1934 West Coast waterfront strike. Geer became a reader of the West Coast Communist newspaper "People's World".