title: What's Going On (Marvin Gaye album)

text: Gaye had also been deeply affected by the social ills plaguing the United States at the time, and covered the track "Abraham, Martin & John", in 1969, which became a UK hit for him in 1970. Gaye cited the 1965 Watts riots as a pivotal moment in his life in which he asked himself, "with the world exploding around me, how am I supposed to keep singing love songs?" One night, he called Berry Gordy about doing a protest record, to which Gordy chastised him, "Marvin, don't be ridiculous. That's taking things too far." The singer's brother Frankie wrote in his 2003 autobiography, "My Brother Marvin", that while reuniting at their former childhood home in Washington, D.C., Frankie's recalling of his tenure at the war made both brothers cry. At one point, Marvin sat propped up in a bed with his hands in his face. Afterwards, Gaye told his brother: "I didn't know how to fight before, but now I think I do. I just have to do it my way. I'm not a painter. I'm not a poet. But I can do it with music."


title: What's Going On (Marvin Gaye album)

text: In an interview with "Rolling Stone", Marvin Gaye discussed what had shaped his view on more socially conscious themes in music and the conception of his eleventh studio album:


title: What's Going On (Marvin Gaye album)

text: On June 1, 1970, Gaye entered Motown's Hitsville U.S.A. studios to record "What's Going On". Immediately after learning about the song, many of Motown's musicians, known as The Funk Brothers noted that there was a different approach with Gaye's record from that used on other Motown recordings, and Gaye complicated matters by bringing in only a few of the members while bringing his own recruits, including drummer Chet Forest. Longtime Funk Brothers members Jack Ashford, James Jamerson and Eddie Brown participated in the recording. Jamerson was pulled into the recording studio by Gaye after he located Jamerson playing with a local band at a blues bar and Eli Fontaine, the saxophonist behind "Baby, I'm For Real", also participated in the recording. Jamerson, who couldn't sit properly on his seat after arriving to the session drunk, performed his bass riffs, written for him by the album's arranger David Van De Pitte, on the floor. Fontaine's alto saxophone riff to open the song was not originally intended. When Gaye heard the playback of what Fontaine thought was simply a demo, Gaye instantly decided that the riff was the ideal way to start the song. When Fontaine said he was "just goofing around", Gaye being pleased with the results replied, "Well, you goof off exquisitely. Thank you."


title: What's Going On (Marvin Gaye album)

text: The laid-back sessions of the single were credited to lots of "marijuana smoke and rounds of Scotch". Gaye's trademark multi-layering vocal approach came off initially as an accident by engineers Steve Smith and Kenneth Sands. Sands later explained that Gaye had wanted him to bring him the two lead vocal takes for "What's Going On" for advice on which one he should use for the final song. Smith and Sands accidentally mixed the two lead vocal takes together. Gaye loved the sound and decided to keep it and use it for the duration of the album.


title: What's Going On (Marvin Gaye album)

text: That September, Gaye approached Gordy with the "What's Going On" song while in California where Gordy had relocated. According to one account, Gordy didn't like the song, allegedly calling it "the worst thing I ever heard in my life". As a result, Gaye angrily responded to Gordy's alleged putdown by going on strike until Gordy changed his mind. Gordy himself denied this claim, stating he loved the song's jazzy feel but cautioned Gaye that the sound was out of date of the sound of the times and also feared the loss of Gaye's crossover audience by releasing the political song. Gaye continued to record his own compositions during this time, some of which later made his 1973 album, "Let's Get It On". Motown executive Harry Balk recalled trying to get Gordy to release the song at the end of the year, to which Gordy replied to him, "that Dizzy Gillespie stuff in the middle, that scatting, it's old." Gordy mentioned later that he feared no one would buy songs with a jazz influence after his attempt to be a record store owner of a jazz shop folded after a year, years prior to starting Motown. Most of Motown's Quality Control Department team also turned the song down, with Balk later stating that "they were used to the 'baby baby' stuff, and this was a little hard for them to grasp."


title: What's Going On (Marvin Gaye album)

text: With the help of Motown sales executive Barney Ales, Harry Balk got the song released to record stores on January 20, 1971, sending 100,000 copies of the song without Gordy's knowledge, with another 100,000 copies sent after that success. Upon its release, the song became a hit and was Motown's fastest-selling single at the time, peaking at number 1 on the Hot Soul Singles Chart, and peaking at number 2 on the "Billboard" Hot 100. Stunned by the news, Gordy drove to Gaye's home to discuss making a complete album, stating Gaye could do what he wanted with his music if he finished the record within 30 days before the end of March and thus effectively giving him the right to produce his own albums. Gaye returned to Hitsville to record the rest of "What's Going On", which took a mere ten business days between March 1 and March 10. The album's rhythm tracks and sound overdubs were recorded at Hitsville, or Studio A, while the strings, horns, lead and background vocals were recorded at Golden World, or Studio B.


title: What's Going On (Marvin Gaye album)

text: The album's original mix, recorded in Detroit at both Hitsville and Golden World as well as United Sound Studios, was finalized on April 5, 1971. When Gordy listened to the mix, he worried that no other hit single would emerge from it. To ease Gordy's worries, Gaye and the album's engineers entered The Sound Factory in West Hollywood in early May, integrating the orchestra somewhat closer with the rhythm tracks, while Gaye used different vocal tracks and added extra instrumentation. Presented to Motown's Quality Control department team, they were worried about future hit singles due to its concurrent style with each song leading to the next. Gordy however vetoed their decision, agreeing to put this mix of the album out that month.


title: What's Going On (Marvin Gaye album)

text: "What's Going On," the title track, features soulful, passionate vocals and multi-tracked background singing, both by Gaye. The song had strong jazz, gospel, classical music orchestration, and arrangements. Reviewer Eric Henderson of Slant stated the song had an "understandably mournful tone" in response to the fallout of the late 1960s counterculture movements. Henderson also wrote that "Gaye's choice to emphasize humanity at its most charitable rather than paint bleak pictures of destruction and disillusionment is characteristic of the album that follows."


title: What's Going On (Marvin Gaye album)

text: This is immediately followed in segue flow by the second track, "What's Happening Brother", a song Gaye dedicated to his brother Frankie, in which Gaye wrote to explain the disillusionment of war veterans who returned to civilian life and their disconnect from pop culture. "Flyin' High (In the Friendly Sky)", which took its title from a United Airlines tag, "fly the friendly skies", dealt with dependence on heroin. The lyric, "I know, I'm hooked my friend, to the boy, who makes slaves out of men", references heroin as "boy", which was slang for the drug. "Save the Children" was an emotional plea to help disadvantaged children, warning, "who really cares/who's willing to try/to save a world/that is destined to die?", later crying out, "save the babies". A truncated version of "God Is Love" follows "Save the Children" and makes references to God.


title: What's Going On (Marvin Gaye album)

text: "Mercy Mercy Me (The Ecology)" was another emotional plea, this time for the environment. According to Motown legend, musician and Funk Brothers leader Earl Van Dyke once mentioned that Berry Gordy didn't know of the word "ecology" and had to be told what it was though Gordy himself claimed otherwise. The song featured a memorable tenor saxophone solo from Detroit music legend Wild Bill Moore. "Right On" was a lengthy seven-minute jam influenced by funk rock and Latin soul rhythms that focused on Gaye's own divided soul in which Gaye later pleaded in falsetto, "if you let me, I will take you to live where love is King" after complying that "true love can conquer hate every time". "Wholy Holy" follows "God Is Love" as an emotional gospel plea advising people to "come together" to "proclaim love [as our] salvation". The final track, "Inner City Blues (Make Me Wanna Holler)", focuses on urban poverty, backed by a minimalist, dark blues-oriented funk vibe, with its bass riffs composed and performed by Bob Babbitt, who also performed on "Mercy Mercy Me" (Jamerson played on the rest of the album). The entire album's stylistic use of a song cycle gave it a cohesive feel and was one of R&B's first concept albums, described as "a groundbreaking experiment in collating a pseudo-classical suite of free-flowing songs."


title: What's Going On (Marvin Gaye album)

text: David Hepworth described the album as "like a jazz record not merely because it had jazz manners and was slathered in strings and employed congas and triangle as its most prominent form of percussion...But it's also jazz in the sense that...[i]t plays like one long single."


title: What's Going On (Marvin Gaye album)

text: Released on May 21, 1971, "What's Going On" became Gaye's Top 10 entry on the "Billboard" Top LPs, peaking at number six. It stayed on the chart over a year, selling some two million copies within twelve months. It was Motown's (and Gaye's) best-selling album to that date – until he released "Let's Get It On" in 1973. It also became Gaye's second number-one album on "Billboard"s Soul LPs chart, where it stayed for nine weeks, remaining on the Billboard Soul LPs chart for 58 weeks throughout 1971 and 1972. The title track, which had been released in January 1971 as the lead single to promote the album, sold more than 200,000 copies within its first week and two-and-a-half-million by the end of the year. It hit number 1 in "Record World", number 2 on the "Billboard" Hot 100 (behind Three Dog Night's "Joy to the World"), number 1 on the "Cash Box" Top 100, and held the pole position on "Billboard"'s Soul Singles chart five weeks running.


title: What's Going On (Marvin Gaye album)

text: The follow-up single, "Mercy Mercy Me (The Ecology)", peaked at number-four on the Hot 100, and also went number-one on the R&B chart. The third, and final, single, "Inner City Blues (Make Me Wanna Holler)", peaked at number-nine on the Hot 100, while also rising to number-one on the R&B chart, thus making Gaye the first male solo artist to place three top ten singles on the Hot 100 off one album, as well as the first artist to place three singles at number one on any "Billboard" chart (in this case, R&B), off one single album. The album had a modest commercial reception in countries such as Canada and the United Kingdom; "Save the Children" reached number 41 on the latter country's singles chart, while the album, 25 years after its original release, reached number 56 . In 1984, the album re-entered the "Billboard" 200 following Gaye's untimely death. In 1994, the album was certified gold by the Recording Industry Association of America in the United States for sales of half a million copies after it was issued on CD. According to Nielsen SoundScan, it has vended over 1.6 million copies since sales tracking began (in 1991). It was certified platinum by the British Phonographic Industry for shipments of 300,000 albums.


title: What's Going On (Marvin Gaye album)

text: Six months after the release of "What's Going On", Sly and the Family Stone released "There's a Riot Goin' On" (1971), titled in response to Gaye's album.


title: What's Going On (Marvin Gaye album)

text: "What's Going On" was generally well received by contemporary critics. Writing for "Rolling Stone" in 1971, Vince Aletti praised Gaye's thematic approach towards social and political concerns, while discussing the surprise of Motown releasing such an album. In a joint review of "What's Going On" and Stevie Wonder's "Where I'm Coming From", Aletti wrote, "Ambitious, personal albums may be a glut on the market elsewhere, but at Motown they're something new ... the album as a whole takes precedence, absorbing its own flaws. There are very few performers who could carry a project like this off. I've always admired Marvin Gaye, but I didn't expect that he would be one of them. Guess I seriously underestimated him. It won't happen again." "Billboard" described the record as "a cross between Curtis Mayfield and that old Motown spell and outdoes anything Gaye's ever done". "Time" magazine hailed it as a "vast, melodically deft symphonic pop suite". "The Village Voice" critic Robert Christgau was less impressed. Writing in "" (1981), he deemed it both a "groundbreaking personal statement" and a Berry Gordy product, baited by three highly original singles but marred elsewhere by indistinct music and indulgent use of David Van De Pitte's strings, which Christgau called "the lowest kind of movie-background dreck".


title: What's Going On (Marvin Gaye album)

text: According to Paul Gambaccini, Gaye's death in 1984 prompted a critical re-evaluation of the album, and most reviewers have since regarded it as an important masterpiece of popular music. In "MusicHound R&B" (1998), Gary Graff said "What's Going On" was "not just a great Gaye album but is one of the great pop albums of all time", and "Rolling Stone" later credited the album for having "revolutionized black music". "The Washington Post" critic Geoffrey Himes names it an exemplary release of the progressive soul development from 1968 to 1973, and "Pitchfork"s Tom Breihan calls it a prog-soul masterpiece. BBC Music's David Katz described the album as "one of the greatest albums of all time, and nothing short of a masterpiece" and compared it to Miles Davis's "Kind of Blue" by saying "its non-standard musical arrangements, which heralded a new sound at the time, gives it a chilling edge that ultimately underscores its gravity, with subtle orchestral enhancements offset by percolating congas, expertly layered above James Jamerson's bubbling bass". In his 1994 review of Gaye's re-issues, "Chicago Tribune" reviewer Greg Kot described the album as "soul music's first 'art' album, an inner-city response to the Celtic mysticism of Van Morrison's "Astral Weeks", the psychedelic pop of The Beatles' "Sgt. Pepper's Lonely Hearts Club Band" [and] the rewired blues of Bob Dylan's "Highway 61 Revisited"." Richie Unterberger found the album somewhat overrated, writing in "The Rough Guide to Rock" (2003) that much of its "meandering introspection" paled in comparison to its three singles.


title: What's Going On (Marvin Gaye album)

text: A remastered deluxe edition with 28 additional tracks was released on May 31, 2011, to similar acclaim. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 100, based on ten reviews.


title: What's Going On (Marvin Gaye album)

text: In 1985, writers on British music weekly the "NME" voted it best album of all time. In 2004, the album's title track was ranked number four on "Rolling Stone"s list of the 500 Greatest Songs of All Time. A 1999 critics' poll conducted by British newspaper "The Guardian" named it the "Greatest Album of the 20th Century". In 1997, "What's Going On" was named the 17th greatest album of all time in a poll conducted in the United Kingdom by HMV Group, Channel 4, "The Guardian" and Classic FM. In 1997, "The Guardian" ranked the album number one on its list of the 100 Best Albums Ever. In 1998 "Q" magazine readers placed it at number 97, while in 2001 the TV network VH1 placed it at number 4. In 2003, it was one of 50 recordings chosen that year by the Library of Congress to be added to the National Recording Registry. "What's Going On" was ranked number 6 on "Rolling Stone" magazine's 2003 list of the 500 Greatest Albums of All Time, one of three Gaye albums to be included, succeeded by 1973's "Let's Get It On" (number 165) and 1978's "Here, My Dear" (number 462). The album is Gaye's highest-ranking entry on the list, as well as several other publications' lists. In a revised 2020 list, this time voted on by musicians instead of music critics, the album moved up to the top spot, replacing The Beatles' "Sgt. Pepper's Lonely Hearts Club Band".


title: What's Going On (Marvin Gaye album)

text: All songs produced by Marvin Gaye. Songwriters as shown in the 1971 original album liner notes release:


title: What's Going On (Marvin Gaye album)

text: In 2001, a "Deluxe Edition" 2-CD version of the album was released by Motown, which included the original LP as released, the discarded "Detroit Mix" of the album, and the mono 45 rpm mixes of the singles. Also included was a recording of Gaye's first live concert performance after two years away from the stage following Tammi Terrell's illness and death, performed at The Kennedy Center Concert Hall in his native Washington, D.C., on May 1, 1972.


title: Enabling Act of 1933

text: The Enabling Act (German: "") of 1933, officially titled (), was a law that gave the German Cabinet – most importantly, the Chancellor – the powers to make and enforce laws without the involvement of the Reichstag or Weimar President Paul von Hindenburg, leading to the rise of Nazi Germany. Critically, the Enabling Act allowed the Chancellor to bypass the system of checks and balances in the government. The act rested upon Article 48 of the Weimar Constitution which gave the government emergency powers during periods of unrest. Among these powers was the ability to create and enforce laws that could explicitly violate individual rights prescribed in the constitution.


title: Enabling Act of 1933

text: In January 1933, Adolf Hitler, leader of the Nazi Party, was appointed as chancellor, the head of the German government. On February 27, the German parliament building — the Reichstag — caught fire. Acting as chancellor, Hitler immediately accused the communists of being the perpetrators of the fire and claimed the arson was part of a larger effort to overthrow the German government. Using this justification, Hitler persuaded Hindenburg to enact the Reichstag Fire Decree. The decree abolished most civil liberties, including the right to speak, assemble, protest, and due process. Using the decree, the Nazis declared a state of emergency and began a violent crackdown against their political enemies. As Hitler cleared the political arena of anyone willing to challenge him, he contended that the decree was insufficient and required sweeping policies that would safeguard his emerging dictatorship. Hitler submitted a proposal to the Reichstag that if passed would immediately grant all legislative powers to the cabinet and by extension Hitler. This would in effect allow Hitler's government to act without concern to the constitution.


title: Enabling Act of 1933

text: Despite outlawing the communists and repressing other opponents, the passage of the Enabling Act was not a guarantee. Hitler allied with other nationalist and conservative factions and they steamrolled over the Social Democrats in the 5 March 1933 German federal election. Germans voted in an atmosphere of extreme voter intimidation perpetrated by the Nazi "Sturmabteilung" (SA) militia. Contrary to popular belief, Hitler did not win an outright majority in the Reichstag as the majority of Germans did not vote for the Nazi Party. The election was a setback for the Nazis; however, it was insufficient in stopping the ratification of the Enabling Act. In order to guarantee its passage, the Nazis implemented a strategy of coercion, bribery, and manipulation. Hitler removed any remaining political obstacles so his coalition of conservatives, nationalists, and Nazis could begin building the Nazi dictatorship. By mid-March, the government began sending communists, labor union leaders, and other political dissidents to Dachau, the first Nazi concentration camp.


title: Enabling Act of 1933

text: Once the Enabling Act was introduced, it was hastily passed by the Reichstag and Reichsrat on 23 March 1933. Later that day, the Enabling Act was signed into law by President Paul von Hindenburg. Unless extended by the Reichstag, the act would expire after four years. With the Enabling Act now in force, the cabinet (in practice, the chancellor) could pass and enforce laws without any objection. The combined effect of the Enabling Act and the Reichstag Fire Decree transformed Hitler's government into a legal dictatorship and laid the groundwork for his totalitarian regime. By July, the Nazis were the only legally permitted party in Germany. The Reichstag from 1933 onward effectively became the rubber stamp parliament that Hitler always wanted. The Enabling Act would be renewed twice and would be rendered null when Nazi Germany surrendered to the Allies in 1945.


title: Enabling Act of 1933

text: The passing of the Enabling Act is significant in German and world history as it marked the formal transition from the democratic Weimar Republic to the totalitarian Nazi dictatorship. From 1933 onwards Hitler continued to consolidate and centralize power via purges, and propaganda. In 1934, Hitler and Heinrich Himmler began removing non-Nazi officials together with Hitler's rivals within the Nazi Party, culminating in the Night of the Long Knives. Once the purges of the Nazi Party and German government concluded, Hitler had total control over Germany. Armed with the Enabling Act, Hitler could begin German rearmament and achieve his aggressive foreign policy aims which ultimately resulted in the Second World War.


title: Enabling Act of 1933

text: After being appointed Chancellor of Germany on 30 January 1933, Hitler asked President von Hindenburg to dissolve the Reichstag. A general election was scheduled for 5 March 1933. A secret meeting was held between Hitler and 20 to 25 industrialists at the official residence of Hermann Göring in the Reichstag Presidential Palace, aimed at financing the election campaign of the Nazi Party.


title: Enabling Act of 1933

text: The burning of the Reichstag, was depicted by the Nazis as the beginning of a communist revolution, and Hitler urged Hindenburg to pass the presidential Reichstag Fire Decree. The decree significantly curbed civil rights for German citizens and suspended freedom of press and "habeas corpus" rights just five days before the election. Hitler used the decree to have the Communist Party's offices raided and its representatives arrested, effectively eliminating them as a political force.


title: Enabling Act of 1933

text: Although they received five million more votes than in the previous election, the Nazis failed to gain an absolute majority in parliament, and depended on the 8% of seats won by their coalition partner, the German National People's Party, to reach 52% in total.


title: Enabling Act of 1933

text: To free himself from this dependency, Hitler had the cabinet, in its first post-election meeting on 15 March, draw up plans for an Enabling Act which would give the cabinet legislative power for four years. The Nazis devised the Enabling Act to gain complete political power without the need of the support of a majority in the Reichstag and without the need to bargain with their coalition partners. The Nazi regime was unique compared to its contemporaries, most famously Joseph Stalin's, because Hitler did not seek to draft a completely new constitution whereas Stalin did so. Technically the Weimar Constitution of 1919 remained in effect even after the Enabling Act, only losing force in 1945 when Germany surrendered at the end of World War II and ceased to be a sovereign state.


title: Enabling Act of 1933

text: The Enabling Act allowed the National Ministry (essentially the cabinet) to enact legislation, including laws deviating from or altering the constitution, without the consent of the Reichstag. Because this law allowed for departures from the constitution, it was itself considered a constitutional amendment. Thus, its passage required the support of two-thirds of those deputies who were present and voting. A quorum of two-thirds of the entire Reichstag was required to be present in order to call up the bill.


title: Enabling Act of 1933

text: The Social Democrats (SPD) and the Communists (KPD) were expected to vote against the Act. The government had already arrested all Communist and some Social Democrat deputies under the Reichstag Fire Decree. The Nazis expected the parties representing the middle class, the Junkers and business interests to vote for the measure, as they had grown weary of the instability of the Weimar Republic and would not dare to resist.


title: Enabling Act of 1933

text: Hitler believed that with the Centre Party members' votes, he would get the necessary two-thirds majority. Hitler negotiated with the Centre Party's chairman, Ludwig Kaas, a Catholic priest, finalizing an agreement by 22 March. Kaas agreed to support the Act in exchange for assurances of the Centre Party's continued existence, the protection of Catholics' civil and religious liberties, religious schools and the retention of civil servants affiliated with the Centre Party. It has also been suggested that some members of the SPD were intimidated by the presence of the Nazi Sturmabteilung (SA) throughout the proceedings.


title: Enabling Act of 1933

text: Some historians, such as Klaus Scholder, have maintained that Hitler also promised to negotiate a Reichskonkordat with the Holy See, a treaty that formalized the position of the Catholic Church in Germany on a national level. Kaas was a close associate of Cardinal Pacelli, then Vatican Secretary of State (and later Pope Pius XII). Pacelli had been pursuing a German concordat as a key policy for some years, but the instability of Weimar governments as well as the enmity of some parties to such a treaty had blocked the project. The day after the Enabling Act vote, Kaas went to Rome in order to, in his own words, "investigate the possibilities for a comprehensive understanding between church and state". However, so far no evidence for a link between the Enabling Act and the Reichskonkordat signed on 20 July 1933 has surfaced.


title: Enabling Act of 1933

text: As with most of the laws passed in the process of "Gleichschaltung", the Enabling Act is quite short, especially considering its implications. The full text, in German and English, follows:


title: Enabling Act of 1933

text: Articles 1 and 4 gave the government the right to draw up the budget and approve treaties without input from the Reichstag.


title: Enabling Act of 1933

text: Debate within the Centre Party continued until the day of the vote, 23 March 1933, with Kaas advocating voting in favour of the act, referring to an upcoming written guarantee from Hitler, while former Chancellor Heinrich Brüning called for a rejection of the Act. The majority sided with Kaas, and Brüning agreed to maintain party discipline by voting for the Act.


title: Enabling Act of 1933

text: The Reichstag, led by its President, Hermann Göring, changed its rules of procedure to make it easier to pass the bill. Under the Weimar Constitution, a quorum of two-thirds of the entire Reichstag membership was required to be present in order to bring up a constitutional amendment bill. In this case, 432 of the Reichstag's 647 deputies would have normally been required for a quorum. However, Göring reduced the quorum to 378 by not counting the 81 KPD deputies. Despite the virulent rhetoric directed against the Communists, the Nazis did not formally ban the KPD right away. Not only did they fear a violent uprising, but they hoped the KPD's presence on the ballot would siphon off votes from the SPD. However, it was an open secret that the KPD deputies would never be allowed to take their seats; they were thrown in jail as quickly as the police could track them down. Courts began taking the line that since the Communists were responsible for the fire, KPD membership was an act of treason. Thus, for all intents and purposes, the KPD was banned as of 6 March, the day after the election.


title: Enabling Act of 1933

text: Göring also declared that any deputy who was "absent without excuse" was to be considered as present, in order to overcome obstructions. Leaving nothing to chance, the Nazis used the provisions of the Reichstag Fire Decree to detain several SPD deputies. A few others saw the writing on the wall and fled into exile.


title: Enabling Act of 1933

text: Later that day, the Reichstag assembled under intimidating circumstances, with SA men swarming inside and outside the chamber. Hitler's speech, which emphasised the importance of Christianity in German culture, was aimed particularly at appeasing the Centre Party's sensibilities and incorporated Kaas' requested guarantees almost verbatim. Kaas gave a speech, voicing the Centre's support for the bill amid "concerns put aside", while Brüning notably remained silent.


title: Enabling Act of 1933

text: Only SPD chairman Otto Wels spoke against the Act, declaring that the proposed bill could not "destroy ideas which are eternal and indestructible." Kaas had still not received the written constitutional guarantees he had negotiated, but with the assurance it was being "typed up", voting began. Kaas never received the letter.


title: Enabling Act of 1933

text: At this stage, the majority of deputies already supported the bill, and any deputies who might have been reluctant to vote in favour were intimidated by the SA troops surrounding the meeting. In the end, all parties except the SPD voted in favour of the Enabling Act. With the KPD banned and 26 SPD deputies arrested or in hiding, the final tally was 444 in favour of the Enabling Act against 94 (all Social Democrats) opposed. The Reichstag had adopted the Enabling Act with the support of 83% of the deputies. The session took place under such intimidating conditions that even if all SPD deputies had been present, it would have still passed with 78.7% support. The same day in the evening, the Reichsrat also gave its approval, unanimously and without prior discussion. The Act was then signed into law by President Hindenburg.


title: Enabling Act of 1933

text: Under the Act, the government had acquired the authority to enact laws without either parliamentary consent or control. These laws could (with certain exceptions) even deviate from the Constitution. The Act effectively eliminated the Reichstag as active player in German politics. While its existence was protected by the Enabling Act, for all intents and purposes it reduced the Reichstag to a mere stage for Hitler's speeches. It only met sporadically until the end of World War II, held no debates and enacted only a few laws. Within three months of the passage of the Enabling Act, all parties except the Nazi Party were banned or pressured into dissolving themselves, followed on 14 July by a law that made the Nazi Party the only legally permitted party in the country. With this, Hitler had fulfilled what he had promised in earlier campaign speeches: "I set for myself one aim ... to sweep these thirty parties out of Germany!"


title: Enabling Act of 1933

text: During the negotiations between the government and the political parties, it was agreed that the government should inform the Reichstag parties of legislative measures passed under the Enabling Act. For this purpose, a working committee was set up, co-chaired by Hitler and Centre Party chairman Kaas. However, this committee met only three times without any major impact, and rapidly became a dead letter even before all other parties were banned.


title: Enabling Act of 1933

text: Though the Act had formally given legislative powers to the government as a whole, these powers were for all intents and purposes exercised by Hitler himself. After its passage, there were no longer serious deliberations in Cabinet meetings. Its meetings became more and more infrequent after 1934, and it never met in full after 1938.


title: Enabling Act of 1933

text: Due to the great care that Hitler took to give his dictatorship an appearance of legality, the Enabling Act was renewed twice, in 1937 and 1941. However, its renewal was practically assured since all other parties were banned. Voters were presented with a single list of Nazis and Nazi-approved "guest" candidates under far-from-secret conditions. In 1942, the Reichstag passed a law giving Hitler power of life and death over every citizen, effectively extending the provisions of the Enabling Act for the duration of the war.


title: Enabling Act of 1933

text: Ironically, at least two, and possibly three, of the penultimate measures Hitler took to consolidate his power in 1934 violated the Enabling Act. In February 1934, the Reichsrat, representing the states, was abolished even though Article 2 of the Enabling Act specifically protected the existence of both the Reichstag and the Reichsrat. It can be argued that the Enabling Act had been breached two weeks earlier by the Law for the Reconstruction of the Reich, which transferred the states' powers to the Reich and effectively left the Reichsrat impotent. Article 2 stated that laws passed under the Enabling Act could not affect the institutions of either chamber.


title: Enabling Act of 1933

text: In August, Hindenburg died, and Hitler seized the president's powers for himself in accordance with a law passed the previous day, an action confirmed via a referendum later that month. Article 2 stated that the president's powers were to remain "undisturbed" (or "unaffected", depending on the translation), which has long been interpreted to mean that it forbade Hitler from tampering with the presidency. A 1932 amendment to the constitution made the president of the High Court of Justice, not the chancellor, first in the line of succession to the presidency—and even then on an interim basis pending new elections. However, the Enabling Act provided no remedy for any violations of Article 2, and these actions were never challenged in court.


title: Enabling Act of 1933

text: The Enabling Act was formally declared to be repealed by the Allied Control Council in Control Council Law No. 1, following the Surrender of Germany in World War II.


title: Enabling Act of 1933

text: Article 9 of the German Constitution, enacted in 1949, allows for social groups to be labeled ("hostile to the constitution") and to be proscribed by the federal government. Political parties can be labeled enemies to the constitution only by the (Federal Constitutional Court), according to Art. 21 II. The idea behind the concept is the notion that even a majority rule of the people cannot be allowed to install a totalitarian or autocratic regime such as with the Enabling Act of 1933, thereby violating the principles of the German constitution.


title: Enabling Act of 1933

text: In his book, "The Coming of the Third Reich," British historian Richard J. Evans argued that the Enabling Act was legally invalid. He contended that Göring had no right to arbitrarily reduce the quorum required to bring the bill up for a vote. While the Enabling Act only required the support of two-thirds of those present and voting, two-thirds of the entire Reichstag's membership had to be present in order for the legislature to consider a constitutional amendment. According to Evans, while Göring was not required to count the KPD deputies in order to get the Enabling Act passed, he was required to "recognize their existence" by counting them for purposes of the quorum needed to call it up, making his refusal to do so "an illegal act". (Even if the Communists had been present and voting, the session's atmosphere was so intimidating that the Act would have still passed with, at the very least, 68.7% support.) He also argued that the act's passage in the Reichsrat was tainted by the overthrow of the state governments under the Reichstag Fire Decree; as Evans put it, the states were no longer "properly constituted or represented", making the Enabling Act's passage in the Reichsrat "irregular".


title: Enabling Act of 1933

text: The 2003 film "" contains a scene portraying the passage of the Enabling Act. The portrayal in this film is inaccurate, with the provisions of the Reichstag Fire Decree (which in practice, as the name states, was a decree issued by President Hindenburg weeks before the Enabling Act) merged into the Act. Non-Nazi members of the Reichstag, including Vice-Chancellor von Papen, are shown objecting. In reality the Act met little resistance, with only the centre-left Social Democratic Party voting against passage. The film also shows Hermann Göring, speaker of the house, beginning to sing the "Deutschlandlied". Nazi representatives then stand and immediately join in with Göring, as well as all other party members, with everyone performing the Hitler salute. In reality, this never happened.


title: Cabaret

text: Cabaret is a form of theatrical entertainment featuring music, song, dance, recitation, or drama. The performance venue might be a pub, a casino, a hotel, a restaurant, or a nightclub with a stage for performances. The audience, often dining or drinking, does not typically dance but usually sits at tables. Performances are usually introduced by a master of ceremonies or MC. The entertainment, as done by an ensemble of actors and according to its European origins, is often (but not always) oriented towards adult audiences and of a clearly underground nature. In the United States, striptease, burlesque, drag shows, or a solo vocalist with a pianist, as well as the venues which offer this entertainment, are often advertised as cabarets.


title: Cabaret

text: The term originally came from Picard language or Walloon language words "camberete" or "cambret" for a small room (12th century). The first printed use of the word "kaberet" is found in a document from 1275 in Tournai. The term was used since the 13th century in Middle Dutch to mean an inexpensive inn or restaurant ("caberet", "cabret").


title: Cabaret

text: The word "cambret", itself probably derived from an earlier form of "chambrette", little room, or from the Norman French "chamber" meaning tavern, itself derived from the Late Latin word "camera" meaning an arched roof.


title: Cabaret

text: Cabarets had appeared in Paris by at least the late 15th century. They were distinguished from taverns because they served food as well as wine, the table was covered with a cloth, and the price was charged by the plate, not the mug.


title: Cabaret

text: They were not particularly associated with entertainment even if musicians sometimes performed in both. Early on, cabarets were considered better than taverns; by the end of the sixteenth century, they were the preferred place to dine out. In the 17th century, a clearer distinction emerged when taverns were limited to selling wine, and later to serving roast meats.


title: Cabaret

text: Cabarets were frequently used as meeting places for writers, actors, friends and artists. Writers such as La Fontaine, Moliere and Jean Racine were known to frequent a cabaret called the "Mouton Blanc" on rue du Vieux-Colombier, and later the "Croix de Lorraine" on the modern rue Bourg-Tibourg. In 1773, French poets, painters, musicians and writers began to meet in a cabaret called "Le Caveau" on rue de Buci, where they composed and sang songs. The Caveau continued until 1816, when it was forced to close because its clients wrote songs mocking the royal government.


title: Cabaret

text: In the 18th century, the "café-concert" or "café-chantant" appeared, which offered food along with music, singers, or magicians. The most famous was the "Cafe des Aveugles" in the cellars of the Palais-Royal, which had a small orchestra of blind musicians. In the early 19th century, many cafés-chantants appeared around the city; the most famous were the Café des Ambassadeurs (1843) on the Champs-Élysées and the Eldorado (1858) on boulevard Strasbourg. By 1900, there were more than 150 cafés-chantants in Paris.


title: Cabaret

text: The first cabaret in the modern sense was Le Chat Noir in the bohemian neighborhood of Montmartre, created in 1881 by Rodolphe Salis, a theatrical agent and entrepreneur. It combined music and other entertainment with political commentary and satire. The Chat Noir brought together the wealthy and famous of Paris with the bohemians and artists of Montmartre and the Pigalle. Its clientele “was a mixture of writers and painters, of journalists and students, of employees and high-livers, as well as models, prostitutes and true grand dames searching for exotic experiences." The host was Salis himself, calling himself a gentleman-"cabaretier"; he began each show with a monologue mocking the wealthy, ridiculing the deputies of the National Assembly, and making jokes about the events of the day. The cabaret was too small for the crowds trying to get in; at midnight on June 10, 1885, Salis and his customers moved down the street to a larger new club at 12 rue de Laval, which had a decor described as "A sort of Beirut with Chinese influences." The composer Eric Satie, after finishing his studies at the Conservatory, earned his living playing the piano at the Chat Noir.


title: Cabaret

text: By 1896, there were 56 cabarets and cafes with music in Paris, along with a dozen music halls. The cabarets did not have a high reputation; one critic wrote in 1897 that "they sell drinks which are worth fifteen centimes along with verses which, for the most part, are worth nothing." The traditional cabarets, with monologues and songs and little decor, were replaced by more specialized venues; some, like the "Boite a Fursy" (1899), specialized in current events, politics and satire. Some were purely theatrical, producing short scenes of plays. Some focused on the macabre or erotic. The "Caberet de la fin du Monde" had servers dressed as Greek and Roman gods and presented living tableaus that were between erotic and pornographic.


title: Cabaret

text: By the end of the century, there were only a few cabarets of the old style remaining where artists and bohemians gathered. They included the "Cabaret des noctambules" on Rue Champollion on the Left Bank; the Lapin Agile at Montmartre; and "Le Soleil d'or" at the corner of the quai Saint-Michel and boulevard Saint-Michel, where poets including Guillaume Apollinaire and André Salmon met to share their work.


title: Cabaret

text: The music hall, first invented in London, appeared in Paris in 1862. It offered more lavish musical and theatrical productions, with elaborate costumes, singing, and dancing. The theaters of Paris, fearing competition from the music halls, had a law passed by the National Assembly forbidding music hall performers to wear costumes, dance, wear wigs, or recite dialogue. The law was challenged by the owner of the music hall "Eldorado" in 1867, who put a former famous actress from the Comédie-Française on stage to recite verse from Corneille and Racine. The public took the side of the music halls, and the law was repealed.


title: Cabaret

text: The Moulin Rouge was opened in 1889 by the Catalan Joseph Oller. It was greatly prominent because of the large red imitation windmill on its roof, and became the birthplace of the dance known as the French Cancan. It helped make famous the singers Mistinguett and Édith Piaf and the painter Toulouse-Lautrec, who made posters for the venue. The "Olympia", also run by Oller, was the first to be called a music hall; it opened in 1893, followed by the Alhambra Music Hall in 1902, and the Printania in 1903. The Printania, open only in summer, had a large "music garden" which seated twelve thousand spectators, and produced dinner shows which presented twenty-three different acts, including singers, acrobats, horses, mimes, jugglers, lions, bears and elephants, with two shows a day.


title: Cabaret

text: In the 20th century, the competition from motion pictures forced the dance halls to put on shows that were more spectacular and more complex. In 1911, the producer Jacques Charles of the Olympia Paris created the grand staircase as a setting for his shows, competing with its great rival, the Folies Bergère which had been founded in 1869. Its stars in the 1920s included the American singer and dancer Josephine Baker. The Casino de Paris, directed by Leon Volterra and then Henri Varna, presented many famous French singers, including Mistinguett, Maurice Chevalier, and Tino Rossi.


title: Cabaret

text: Le Lido on the Champs-Élysées opened in 1946, presenting Édith Piaf, Laurel and Hardy, Shirley MacLaine, Marlene Dietrich, Maurice Chevalier, and Noël Coward. The Crazy Horse Saloon, featuring striptease, dance, and magic, opened in 1951. The Olympia Paris went through a number of years as a movie theater before being revived as a music hall and concert stage in 1954. Performers there included Piaf, Dietrich, Miles Davis, Judy Garland, and the Grateful Dead. A handful of music halls exist today in Paris, attended mostly by visitors to the city; and a number of more traditional cabarets, with music and satire, can be found.


title: Cabaret

text: In the Netherlands, cabaret or "kleinkunst" (literally: "small art") is a popular form of entertainment, usually performed in theatres. The birth date of Dutch cabaret is usually set at August 19, 1895. In Amsterdam, there is the Kleinkunstacademie (English: Cabaret Academy). It is often a mixture of (stand-up) comedy, theatre, and music and often includes social themes and political satire. In the mid twentieth century, "the big three" were Wim Sonneveld, Wim Kan, and Toon Hermans. Nowadays, many cabaret shows of popular "cabaretiers" (performers of cabaret) are broadcast on national television, especially on New Year's Eve, when several special cabaret shows are aired where the cabaretier usually reflects on large events of the past year.


title: Cabaret

text: German "Kabarett" developed from 1901, with the creation of the Überbrettl ("Superstage") venue, and by the Weimar era in the mid-1920s, the "Kabarett" performances were characterized by political satire and gallows humor. It shared the characteristic atmosphere of intimacy with the French cabaret from which it was imported, but the gallows humor was a distinct German aspect.


title: Cabaret

text: The Polish "kabaret" is a popular form of live (often televised) entertainment involving a comedy troupe, and consisting mostly of comedy sketches, monologues, stand up comedy, songs and political satire (often hidden behind double entendre to fool censors).


title: Cabaret

text: It traces its origins to Zielony Balonik, a famous literary cabaret founded in Kraków by local poets, writers and artists during the final years of the Partitions of Poland.


title: Cabaret

text: In the interwar Poland there was a considerable number of Yiddish-language cabarets. This art form was called kleynkunst (lliterally "small art") in Yiddish.


title: Cabaret

text: In post-war Poland, it is almost always associated with the troupe (often on tour), not the venue; pre-war revue shows (with female dancers) were long gone.


title: Cabaret

text: American cabaret was imported from French cabaret by Jesse Louis Lasky in 1911. In the United States, cabaret diverged into several different styles of performance mostly due to the influence of jazz music. Chicago cabaret focused intensely on the larger band ensembles and reached its peak during Roaring Twenties, under the Prohibition Era, where it was featured in the speakeasies and steakhouses.


title: Cabaret

text: New York cabaret never developed to feature a great deal of social commentary. When New York cabarets featured jazz, they tended to focus on famous vocalists like Nina Simone, Bette Midler, Eartha Kitt, Peggy Lee, and Hildegarde rather than instrumental musicians. Julius Monk's annual revues established the standard for New York cabaret during the late 1950s and '60s.


title: Cabaret

text: Cabaret in the United States began to decline in the 1960s, due to the rising popularity of rock concert shows, television variety shows, and general comedy theaters. However, it remained in some Las Vegas-style dinner shows, such as the Tropicana, with fewer comedy segments. The art form still survives in various musical formats, as well as in the stand-up comedy format, and in popular drag show performances.


title: Cabaret

text: The late 20th and early 21st century saw a revival of American cabaret, particularly in New Orleans, Chicago, Seattle, Portland, Philadelphia, Orlando, Tulsa, Asheville, North Carolina, and Kansas City, Missouri, as new generations of performers reinterpret the old forms in both music and theater. Many contemporary cabaret groups in the United States and elsewhere feature a combination of original music, burlesque and political satire. In New York City, since 1985, successful, enduring or innovative cabaret acts have been honored by the annual Bistro Awards.


title: Cabaret

text: The Cabaret Theatre Club, later known as The Cave of the Golden Calf, was opened by Frida Strindberg (modelled on the Kaberett Fledermaus in Strindberg's native Vienna) in a basement at 9 Heddon Street, London, in 1912. She intended her club to be an avant-garde meeting place for bohemian writers and artists, with decorations by Jacob Epstein, Eric Gill, and Wyndham Lewis, but it rapidly came to be seen as an amusing place for high society and went bankrupt in 1914. The Cave was nevertheless an influential venture, which introduced the concept of cabaret to London. It provided a model for the generation of nightclubs that came after it.


title: Cabaret

text: "The clubs that started the present vogue for dance clubs were the Cabaret Club in Heddon Street . . . . The Cabaret Club was the first club where members were expected to appear in evening clothes. . . . The Cabaret Club began a system of vouchers which friends of members could use to obtain admission to the club. . . . the question of the legality of these vouchers led to a famous visitation of the police. That was the night a certain Duke was got out by way of the kitchen lift . . . The visitation was a well-mannered affair'


title: Cabaret

text: In Stockholm, an underground show called "Fattighuskabarén" ("Poor House Cabaret") opened in 1974 and ran for 10 years. Performers of later celebrity and fame (in Sweden) such as Ted Åström, Örjan Ramberg, and Agneta Lindén began their careers there. "Wild Side Story" also had several runs in Stockholm, at Alexandra's (1976 with Ulla Jones and Christer Lindarw), Camarillo (1997), Rosenlundsteatern/Teater Tre (2000), Wild Side Lounge at Bäckahästen (2003 with Helena Mattsson) and Mango Bar (2004). Alexandra's had also hosted "AlexCab" in 1975, as had Compagniet in Gothenburg.


title: Cabaret

text: In 2019 the first Serbian cabaret club Lafayette opened. Although Serbia and Belgrade had a rich night and theater life there was no cabaret house until 2019.


title: Robert S. Kapito

text: Robert Steven Kapito (born February 8, 1957) is an American businessman and investor. He is a founder and president of the New York City-based investment management firm BlackRock.


title: Robert S. Kapito

text: Kapito is Jewish. He earned an MBA from Harvard Business School in Cambridge, Massachusetts (HBS) in 1983 after completing a BS degree in economics from the Wharton School of the University of Pennsylvania. Kapito met his wife Ellen when she was a student at the University of Pennsylvania School of Nursing.


title: Robert S. Kapito

text: Kapito joined First Boston in 1979 after graduating from Wharton and started in the Public Finance Department. He was hired by Larry Fink to work at First Boston, where they were instrumental in pioneering the mortgage-backed security market in the United States.


title: Robert S. Kapito

text: Kapito left First Boston to complete his MBA degree and returned to the firm in 1983 in the Mortgage Products Group. In 1988, Kapito left First Boston along with Fink and founded BlackRock under the umbrella of the private equity firm Blackstone Group as partners. Kapito worked closely with Fink at BlackRock, where he developed a reputation as an aggressive and loyal supporter of Fink.


title: Robert S. Kapito

text: In 2022, he warned about product shortages and said that "a very entitled generation that has never had to sacrifice" was experiencing inflation for the first time.


title: Robert S. Kapito

text: Kapito serves as a member of the board of trustees of the Wharton School of the University of Pennsylvania and as a member of a Harvard Kennedy School Executive Education Faculty. He is also president of the board of directors for the Hope & Heroes Children's Cancer Fund and president of the board of directors for Periwinkle Theatre for Youth, a national non-profit arts-in-education organization.


title: Robert S. Kapito

text: In 2012, he received the Gustave L. Levy Award from the United Jewish Appeal Federation of New York for his donations.


title: Robert S. Kapito

text: Kapito is scheduled to speak at the November 2022 Global Financial Leaders' Investment Summit, with the Hong Kong Democracy Council claiming that his presence, along with other financial executives, legitimizes the Hong Kong government's whitewashing of the erosion of freedoms in the city. Several members of Congress also warned that US financial executives should not attend the Summit, saying "Their presence only serves to legitimise the swift dismantling of Hong Kong's autonomy, free press and the rule of law by Hong Kong authorities acting along with the Chinese Communist Party."


title: Billy Kametz

text: Billy P. Kametz (March 22, 1987 – June 9, 2022) was an American voice actor. He was best known for his work dubbing anime and video games.


title: Billy Kametz

text: Born in Lancaster, Pennsylvania, Kametz began his voice acting career in 2016 when he moved to Los Angeles and debuted as Aladdin in a Broadway-styled musical. He had been providing the English voices for Josuke Higashikata in "", Naofumi Iwatani in "The Rising of the Shield Hero", and Ferdinand von Aegir in "." Kametz's work was praised by his peers and he had won the Best Voice Actor Award at the 4th Crunchyroll Anime Awards for his role as Naofumi.


title: Billy Kametz

text: He was diagnosed with stage IV colon cancer in February 2022, which he publicly announced ten weeks later on April 26, 2022, and died less than 2 months after announcing his diagnosis at the age of 35 on June 9, 2022.


title: Billy Kametz

text: Kametz was born on March 22, 1987, in Lancaster, Pennsylvania, and was raised in Hershey, Pennsylvania. He had a sister. He attended West Chester University.


title: Billy Kametz

text: In 2016, Kametz moved to Sherman Oaks in Los Angeles to play Aladdin in the final performance of "". While living in California, Kametz began working as a voice actor. He achieved one of his first major roles when he was cast as Josuke Higashikata in the Viz Media dub of "". He went on to voice other prominent roles, including Colt in "Brawl Stars", Takuto Maruki in "Persona 5 Royal", Galo Thymos in "Promare", and Ren in "Pokémon".


title: Billy Kametz

text: In 2020, for his performance as Naofumi Iwatani in "The Rising of the Shield Hero", Kametz won the Best VA Performance (EN) award at the 4th Crunchyroll Anime Awards. Apart from animations, he also provided his voice for many characters in various related video games.


title: Billy Kametz

text: On April 26, 2022, Kametz revealed that he had been diagnosed with stage IV colon cancer ten weeks prior, which had metastasized to his liver, lungs and spine, and that he had begun chemotherapy and radiation therapy. He also announced that he would be taking a hiatus from voice acting and moving back to Hershey, Pennsylvania. A GoFundMe page was posted on May 1, 2022, to help cover travel, insurance costs, medical bills not covered by insurance, and everyday life necessities; these online fundraising efforts yielded more than US$184,000.


title: Billy Kametz

text: Within several weeks after announcing his cancer diagnosis, Kametz died at the age of 35 in Hershey, Pennsylvania, on June 9, 2022. Following his untimely death, his ongoing roles were recast to other voice actors.


title: Sanātana Dharma

text: Sanātana Dharma (Devanagari: , meaning "eternal "dharma"", "eternal order") is an endonym used by Hindus to refer to Hinduism. It refers to the “eternal” truth and teachings of Hinduism. It can also be translated as “the natural and eternal way to live". The term is used in Indian languages alongside the more common "Hindu Dharma" for Hinduism. "Sanatana Dharma" can also denote the list of 'eternal' or absolute duties and practices.


title: Sanātana Dharma

text: In Sanskrit, "Sanātana Dharma" translates approximately to "eternal law" or, less literally, "eternal way." In Pali, the equivalent term is "Dhammo Sanātano" (धम्मो सनन्तनो). In Hindi, the Sanskrit tatsama "dharm" is being used as "religion" () roughly translates to "eternal religion".


title: Sanātana Dharma

text: "Dharma" is often translated as "duty", "religion" or "religious duty", but has a deeper meaning. The word comes from the Sanskrit root ""dhri"" which means "to sustain" or "that which is integral to something" (e.g. "dharma" of sugar is to be sweet, fire to be hot). A person's "dharma" consists of duties that sustain them according to their innate characteristics which are both spiritual and material, generating two corresponding types:


title: Sanātana Dharma

text: According to the notion of "sanatana-dharma", the eternal and intrinsic inclination of the living entity ("atman") is to perform "seva" (service). "Sanatana-dharma", being transcendental, refers to universal and axiomatic laws that are beyond our temporary belief systems.


title: Sanātana Dharma

text: The phrase "dharma sanātana" occurs in classical Sanskrit literature, for example, in the "Manusmrti" (4-138) and in the "Bhagavata Purana".


title: Sanātana Dharma

text: In the late 19th century, the term was revived during the Hindu revivalism movement as a name for Hinduism as a religion in order to avoid having to use the term "Hindu" which is of non-native Persian origin.


title: Sanātana Dharma

text: Today, Sanatana Dharma is associated only with Hinduism. In current-day usage, the term "sanatana dharma" is diminished and used to emphasize a "traditional” or "sanatani" ("eternalist") outlook in contrast to the socio-political Hinduism embraced by movements such as the Arya Samaj. In sharp contrast to the efforts by Lahore Sanatana Dharma Sabha to preserve the Hindu tradition against the onslaught of reform, now it is being stressed that Sanatan Dharma cannot be rigid, it has to be inclusive without excluding the best and totality of knowledge to guide the karmic process, especially as Sanatan has no beginning and no end.


title: Sanātana Dharma

text: Sanatanis and reformists (such as the Arya Samaj, the Radha Soamis and the Ramakrishna Mission) have competed for adherents for more than a century, sometimes creating deep schisms in Hindu society, as in the case of South African Hindus who were split between the Arya Samaj and Sanatanis. While the reformist groups were better organized initially, by the 1860s, a process of internal counter-reform was underway in Sanatani groups as well, and societies to propagate orthodox beliefs along modern lines emerged, such as Sanatan Dharm Rakshini Sabha in 1873. Some religious commentators have compared the Sanatani-Samaji dichotomy within Hinduism as similar to the Catholic-Protestant division in Christianity.


title: Henry Louis Gates Jr.

text: Henry Louis "Skip" Gates Jr. (born September 16, 1950) is an American literary critic, professor, historian, and filmmaker, who serves as the Alphonse Fletcher University Professor and Director of the Hutchins Center for African and African American Research at Harvard University. He is a Trustee of the Gilder Lehrman Institute of American History. He rediscovered the earliest African-American novels, long forgotten, and has published extensively on appreciating African-American literature as part of the Western canon.


title: Henry Louis Gates Jr.

text: In addition to producing and hosting previous series on the history and genealogy of prominent American figures, since 2012, Gates has been host of the television series "Finding Your Roots" on PBS. It combines the work of expert researchers in genealogy, history, and genetics historic research to tell guests about their ancestors' lives and histories.


title: Henry Louis Gates Jr.

text: Gates was born in Keyser, West Virginia, to Henry Louis Gates Sr. (c. 1913–2010) and his wife Pauline Augusta (Coleman) Gates (1916–1987). He grew up in neighboring Piedmont. His father worked in a paper mill and moonlighted as a janitor, while his mother cleaned houses, as described in his memoir "Colored People" (1994).


title: Henry Louis Gates Jr.

text: Gates learned through research that his family is descended in part from the Yoruba people of West Africa. He has also learned that he has 50% European ancestry, including Irish forebears; he was surprised his European ancestry turned out to be so substantial. Having grown up in an African-American community, however, he identifies as Black. He has learned that he is also connected to the multiracial West Virginia community of Chestnut Ridge people.


title: Henry Louis Gates Jr.

text: At the age of 14, Gates was injured playing touch football, fracturing the ball and socket joint of his hip, resulting in a slipped capital femoral epiphysis. The injury was misdiagnosed by a physician, who told Gates' mother that his problem was psychosomatic. When the physical damage finally healed, his right leg was two inches shorter than his left. Because of the injury, Gates now uses a cane when he walks.


title: Henry Louis Gates Jr.

text: Gates graduated from Piedmont High School in 1968 and attended Potomac State College of West Virginia University before transferring to Yale University, from which he graduated in 1973 with a Bachelor of Arts "summa cum laude" in history and Phi Beta Kappa membership. The first African American to be awarded an Andrew W. Mellon Foundation Fellowship, Gates sailed on the "Queen Elizabeth 2" for England, where he studied English literature at Clare College, Cambridge, and earned his PhD.


title: Henry Louis Gates Jr.

text: After a month at Yale Law School, Gates withdrew from the program. In October 1975 he was hired by Charles Davis as a secretary in the Afro-American Studies department at Yale. In July 1976, Gates was promoted to the post of Lecturer in Afro-American Studies, with the understanding that he would be promoted to assistant professor upon completion of his doctoral dissertation. Jointly appointed to assistant professorships in English and Afro-American Studies in 1979, Gates was promoted to associate professor in 1984. While at Yale, Gates mentored Jodie Foster, who majored in African-American Literature there, writing her thesis on writer Toni Morrison.


title: Henry Louis Gates Jr.

text: In 1984, Gates was recruited by Cornell University with an offer of tenure; Gates asked Yale if they would match Cornell's offer, but they declined. Gates moved to Cornell in 1985, where he taught until 1989.


title: Henry Louis Gates Jr.

text: Following a two-year stay at Duke University, he was recruited to Harvard University in 1991. At Harvard, Gates teaches undergraduate and graduate courses as the Alphonse Fletcher University Professor, an endowed chair he was appointed to in 2006, and as a professor of English. Additionally, he is the Director of the Hutchins Center for African & African American Research.


title: Henry Louis Gates Jr.

text: As a literary theorist and critic, Gates has combined literary techniques of deconstruction with native African literary traditions; he draws on structuralism, post-structuralism, and semiotics to analyze texts and assess matters of identity politics. As a black intellectual and public figure, Gates has been an outspoken critic of the Eurocentric literary canon. He has insisted that black literature must be evaluated by the aesthetic criteria of its culture of origin, not criteria imported from Western or European cultural traditions that express a "tone deafness to the black cultural voice" and result in "intellectual racism". In his major scholarly work, "The Signifying Monkey," a 1989 American Book Award winner, Gates expressed what might constitute an African-American cultural aesthetic. The work extended application of the concept of "signifyin'" to analysis of African-American works. "Signifyin'" refers to the significance of words that is based on context, and is accessible only to those who share the cultural values of a given speech community. His work has rooted African-American literary criticism in the African-American vernacular tradition.


title: Henry Louis Gates Jr.

text: While Gates has stressed the need for greater recognition of black literature and black culture, he does not advocate a "separatist" black canon. Rather, he works for greater recognition of black works and their integration into a larger, pluralistic canon. He has affirmed the value of the Western tradition, but has envisioned a more inclusive canon of diverse works sharing common cultural connections:


title: Henry Louis Gates Jr.

text: "Every black American text must confess to a complex ancestry, one high and low (that is, literary and vernacular) but also one white and black ... there can be no doubt that white texts inform and influence black texts (and "vice versa"), so that a thoroughly integrated canon of American literature is not only politically sound, it is intellectually sound as well."


title: Henry Louis Gates Jr.

text: Gates has argued that a separatist, Afrocentric education perpetuates racist stereotypes. He maintains that it is "ridiculous" to think that only blacks should be scholars of African and African-American literature. He argues, "It can't be real as a subject if you have to look like the subject to be an expert in the subject," adding, "It's as ridiculous as if someone said I couldn't appreciate Shakespeare because I'm not Anglo-Saxon. I think it's vulgar and racist whether it comes out of a black mouth or a white mouth."


title: Henry Louis Gates Jr.

text: As a mediator between those advocating separatism and those believing in a Western canon, Gates has been criticized by both. Some critics suggest that adding black literature will diminish the value of the Western canon, while separatists say that Gates is too accommodating to the dominant white culture in his advocacy of integration of the canon. Gates has been criticized by John Henrik Clarke, Molefi Kete Asante and the controversial Maulana Karenga, each of whom has been questioned by others in academia.


title: Henry Louis Gates Jr.

text: As a literary historian committed to the preservation and study of historical texts, Gates has been integral to the Black Periodical Literature Project, a digital archive of black newspapers and magazines created with financial assistance from the National Endowment for the Humanities. To build Harvard's visual, documentary, and literary archives of African-American texts, Gates arranged for the purchase of "The Image of the Black in Western Art", a collection assembled by Dominique de Ménil in Houston.


title: Henry Louis Gates Jr.

text: As a result of research as a MacArthur Fellow, Gates discovered "Our Nig", written by Harriet E. Wilson in 1859, and thought to be the first novel written in the United States by an African American. Later, he acquired and authenticated the manuscript of "The Bondwoman's Narrative" by Hannah Crafts, a novel from the same period that scholars believe may have been written as early as 1853; if so, it would have precedence as the first-known novel written in the United States by an African American. (Note: "Clotel" (1853) is recognized as the first novel published by an African-American author, but William Wells Brown wrote and published it in London.) "The Bondwoman's Narrative" was first published in 2002 and became a bestseller.


title: Henry Louis Gates Jr.

text: As a prominent black intellectual, Gates has concentrated on building academic institutions to study black culture. Additionally, he has worked to bring about social, educational, and intellectual equality for black Americans. His writing includes pieces in "The New York Times" that defend rap music, and an article in "Sports Illustrated" that criticizes black youth culture for glorifying basketball over education. In 1992, he received a George Polk Award for his social commentary in "The New York Times". Gates's prominence has led to his being called as a witness on behalf of the controversial Florida rap group 2 Live Crew in an obscenity case. He argued that the material, which the government charged was profane, had important roots in African-American Vernacular English, games, and literary traditions, and should be protected.


title: Henry Louis Gates Jr.

text: Asked by National Endowment for the Humanities Chairman Bruce Cole to describe his work, Gates responded: "I would say I'm a literary critic. That's the first descriptor that comes to mind. After that I would say I was a teacher. Both would be just as important." After his 2003 NEH lecture, Gates published in the same year a book entitled "The Trials of Phillis Wheatley," about the early African-American poet.


title: Henry Louis Gates Jr.

text: In July 2022, Gates announced that he would serve as editor-in-chief of the "Oxford Dictionary of African American English", a new glossary of language that will contain popular phrases used by historical Black figures and modern-day Black Americans.


title: Henry Louis Gates Jr.

text: In 1995 Gates presented a program in the BBC series "Great Railway Journeys" (produced in association with PBS). The program documents a 3,000-mile journey Gates took through Zimbabwe, Zambia and Tanzania, with his then-wife Sharon Adams and daughters Liza and Meggie Gates. This trip came 25 years after Gates worked at a hospital in Kilimatinde, near Dodoma, Tanzania, as a 19-year-old pre-medical student at Yale University.


title: Henry Louis Gates Jr.

text: In September 1995, Gates read a five-part abridgement (by Margaret Busby) of his memoir "Colored People" on BBC Radio 4.


title: Henry Louis Gates Jr.

text: Gates was the host and co-producer of "African American Lives" (2006) and "African American Lives 2" (2008) in which the lineage of more than a dozen notable African Americans was traced using genealogical and historic resources, as well as genealogical DNA testing. In the first series, Gates learned that he has 50% European ancestry and 50% African ancestry. He had known of some European ancestry but was surprised to learn the high proportion; he also learned that he was descended from John Redman, a mulatto veteran in New England of the American Revolutionary War. Gates has joined the Sons of the American Revolution. In the series, he discussed findings with guests about their complex ancestries.


title: Henry Louis Gates Jr.

text: In the second season, Gates learned that he is part of a genetic subgroup possibly descended from or related to the fourth-century Irish king Niall of the Nine Hostages. He also learned that one of his African ancestors includes a Yoruba man who was trafficked to America from Ouidah in present-day Republic of Benin. The two series demonstrated the many strands of ancestry, cultural heritage and history among African Americans.


title: Henry Louis Gates Jr.

text: Gates hosted "Faces of America", a four-part series presented by PBS in 2010. This program examined the genealogy of 12 North Americans of diverse ancestry: Elizabeth Alexander, Mario Batali, Stephen Colbert, Louise Erdrich, Malcolm Gladwell, Eva Longoria, Yo-Yo Ma, Mike Nichols, Queen Noor of Jordan, Mehmet Oz, Meryl Streep, and Kristi Yamaguchi.


title: Henry Louis Gates Jr.

text: Since 1995, Gates has been the jury chair for the Anisfield-Wolf Book Award, which honors written works that contribute to society's understanding of racism and the diversity of human culture. Gates was an Anisfield-Wolf prize winner in 1989 for "The Schomburg Library of Women Writers".


title: Henry Louis Gates Jr.

text: Since 2012 he has hosted a PBS TV series, called "Finding Your Roots – with Henry Louis Gates, Jr.". The second season of the series, featuring 30 prominent guests across 10 episodes, with Gates as the narrator, interviewer, and genealogical investigator, aired on PBS in fall 2014. The show's third season was postponed after it was discovered that actor Ben Affleck had persuaded Gates to omit information about his slave-owning ancestors. "Finding Your Roots" resumed in January 2016.


title: Henry Louis Gates Jr.

text: Gates's critically acclaimed six-part PBS documentary series, "," traced 500 years of African-American history to the second inauguration of President Barack Obama. Gates wrote, executive produced, and hosted the series, which earned the 2013 Peabody Award and a NAACP Image Award.


title: Henry Louis Gates Jr.

text: In 2010, Gates wrote an op-ed in "The New York Times" that discussed the role played by Africans in the Atlantic slave trade. Gates' op-ed begins and ends with the observation that it is very difficult to decide whether or not to give reparations to the descendants of American slaves, whether they should receive compensation for their ancestors' unpaid labor, and lack of rights. Gates also notes that it is equally difficult to decide who should get such reparations and who should pay them, as slavery was legal under the laws of the colonies and the United States. In an article for "Newsweek", journalist Lisa Miller reported on the reaction to Gates' article:


title: Henry Louis Gates Jr.

text: The Letters page of "The New York Times" of April 25, 2010, featured criticism and examination of Gates's views in response to his op-ed. Eric Foner, professor of history at Columbia University, considered Gates's emphasis on there being "little discussion" of African involvement in the slave trade to be unfounded, stating that "today, virtually every history of slavery and every American history textbook includes this information." Author Herb Boyd, who teaches African and African-American history at the College of New Rochelle and City College, CUNY, argued that despite the complicity of African monarchs in the Atlantic slave trade, the United States "was the greatest beneficiary, and thus should be the main compensator." Lolita Buckner Inniss, a professor at the Cleveland-Marshall College of Law, argued that notwithstanding African involvement as "abductors," it was Western slave-owners, as "captors," that perpetuated the practice even after the import trade was banned. "Up until that recent piece, people would have thought of him as someone who took a cautious and nuanced approach to questions like reparations. Gates has such an eminent reputation," she said, "and so much gravitas. Many of us were troubled."


title: Henry Louis Gates Jr.

text: On July 16, 2009, Gates returned home to his residence in Cambridge, Massachusetts, near Harvard Square, following a trip to China, only to find the front door jammed. His taxi driver attempted to help him gain entrance. A passerby called police, reporting a possible break-in after describing to 911 "an individual" forcing the front door open. Cambridge police officers were dispatched. The confrontation resulted in Gates being arrested and charged with disorderly conduct. Prosecutors later dropped the charges.


title: Henry Louis Gates Jr.

text: The incident spurred a politically charged exchange of views about race relations and law enforcement throughout the United States. The arrest attracted national attention after U.S. President Barack Obama controversially declared that the Cambridge police "acted stupidly" in arresting the 59-year-old Gates. Obama and Vice President Joe Biden eventually extended an invitation to Gates and the Cambridge officer who was involved to share a beer with them at the White House, which they accepted.


title: Henry Louis Gates Jr.

text: Gates married Sharon Lynn Adams in 1979. They had two daughters together before they divorced in 1999. As of 2021, Gates is married to historian Dr. Marial Iglesias Utset.


title: Rubbing alcohol

text: Rubbing alcohol is either an isopropyl alcohol or an ethanol-based liquid, with isopropyl alcohol products being the most widely available. The comparable "British Pharmacopoeia" ("BP") is surgical spirit. Rubbing alcohol is denatured and undrinkable even if it is ethanol-based, due to the bitterants added.


title: Rubbing alcohol

text: They also have multiple industrial and household applications. The term "rubbing alcohol" in North American English is a general term for either isopropyl alcohol (isopropanol) or ethyl alcohol (ethanol) products.


title: Rubbing alcohol

text: The "United States Pharmacopeia" ("USP") defines "isopropyl rubbing alcohol USP" as containing approximately 70 percent alcohol by volume of pure isopropyl alcohol and defines "rubbing alcohol USP" as containing approximately 70 percent by volume of denatured alcohol. In Ireland and the UK, the comparable preparation is surgical spirit B.P., which the "British Pharmacopoeia" defines as 95% methylated spirit, 2.5% castor oil, 2% diethyl phthalate, and 0.5% methyl salicylate.


title: Rubbing alcohol

text: Under its alternative name of "wintergreen oil", methyl salicylate is a common additive to North American rubbing alcohol products. Individual manufacturers are permitted to use their own formulation standards in which the ethanol content for retail bottles of rubbing alcohol is labeled as and ranges from 70 to 99% v/v.


title: Rubbing alcohol

text: All rubbing alcohols are unsafe for human consumption: isopropyl rubbing alcohols do not contain the ethyl alcohol of alcoholic beverages; ethyl rubbing alcohols are based on denatured alcohol, which is a combination of ethyl alcohol and one or more bitter poisons that make the substance toxic.


title: Rubbing alcohol

text: The term "rubbing alcohol" came into prominence in North America in the mid-1920s. The "original" rubbing alcohol was literally used as a liniment for massage; hence the name. This original rubbing alcohol was rather different from today's precisely formulated surgical spirit; in some formulations it was perfumed and included different additives, notably a higher concentration of methyl salicylate.


title: Rubbing alcohol

text: The name "rubbing" also emphasized that the alcohol was not intended for consumption, a significant distinction in Prohibition-era America; nonetheless it had become a well-documented surrogate alcohol as early as 1925.


title: Rubbing alcohol

text: All rubbing alcohols are volatile and flammable. Ethyl rubbing alcohol has an extremely bitter taste from additives. The specific gravity of Formula 23-H is between 0.8691 and 0.8771 at .


title: Rubbing alcohol

text: Isopropyl rubbing alcohols contain from 50% to 99% by volume of isopropyl alcohol, the remainder consisting of water. Boiling points vary with the proportion of isopropyl alcohol from ; likewise, freezing points vary from . Surgical spirit BP boils at .


title: Rubbing alcohol

text: Naturally colorless, products may contain color additives. They may also contain medically-inactive additives for fragrance, such as wintergreen oil (methyl salicylate), or for other purposes.


title: Rubbing alcohol

text: To protect alcohol tax revenue in the United States all preparations classified as "Rubbing Alcohols" (defined as those containing ethanol) must have poisonous additives to limit human consumption in accordance with the requirements of the US Treasury Department, Bureau of Alcohol, Tobacco, and Firearms, using Formula 23-H (8 parts by volume of acetone, 1.5 parts by volume of methyl isobutyl ketone, and 100 parts by volume of ethyl alcohol). It contains 87.5–91% by volume of absolute ethyl alcohol. The rest consists of water and the denaturants, with or without color additives, and perfume oils. Rubbing alcohol contains in each 100 ml more than 355 mg of sucrose octaacetate or more than 1.40 mg of denatonium benzoate. The preparation may be colored with one or more color additives. A suitable stabilizer may also be added.


title: Rubbing alcohol

text: Product labels for rubbing alcohol include a number of warnings about the chemical, including the flammability hazards and its intended use only as a topical antiseptic and not for internal wounds or consumption. It should be used in a well-ventilated area due to inhalation hazards. Poisoning can occur from ingestion, inhalation, absorption, or consumption of rubbing alcohol.


title: The Bank Job

text: The Bank Job is a 2008 heist thriller film directed by Roger Donaldson, written by Dick Clement and Ian La Frenais, and starring Jason Statham, based on the 1971 Baker Street robbery in central London, from which the money and valuables stolen were never recovered. The producers allege that the story was prevented from being told in 1971 because of a D-Notice, to protect a prominent member of the British royal family. According to the producers, this film is intended to reveal the truth for the first time, although it includes significant elements of fiction.


title: The Bank Job

text: The premiere was held in London on 18 February 2008, and it was released in the UK on 29 February 2008 and in the US on 7 March 2008. It received mostly positive reviews from critics and grossed $66 million worldwide.


title: The Bank Job

text: In 1971, British Security Services (MI5) have taken interest in a safety deposit box that is located in a Lloyd's Bank branch on the corner of Baker Street and Marylebone Road. It belongs to a black militant gangster, Michael X, and contains compromising photos of Princess Margaret, which he is keeping as insurance to keep the British authorities off his back. Martine Love, an ex-model who is romantically involved with MI5 agent Tim Everett, is caught at Heathrow Airport smuggling drugs into the country, and to avoid going to jail, she makes a deal with the authorities whereby she agrees to retrieve the photos.


title: The Bank Job

text: Martine approaches her friend Terry, a struggling East London car salesman with criminal contacts, and tells him that if he can assemble the gang to help her rob the bank, he will be richly rewarded, though she does not tell him about the photos in the deposit box. Terry recruits a small team, including one of his own workers, Eddie, Dave, Kevin, Bambas, and Guy Singer. While scouting the bank, Dave runs into local gangster Lew Vogel, for whom he made several pornographic films.


title: The Bank Job

text: The gang rents a leather goods shop near the bank and tunnels into the vault. They loot the safety deposit boxes, but Terry becomes suspicious when Martine seems to display particular interest in one box and eventually discovers the photos. The police are alerted to the robbery by a ham radio operator who overhears the gang's walkie-talkie communications, but by the time they locate the bank, the gang has already fled. The robbery rattles many important underworld figures who had used the bank, including Lew Vogel, who kept a ledger of police payoffs inside. He notifies a furious Michael X in Trinidad, who correctly suspects Gale Benson— the lover of his associate Hakim Jamal—of spying for MI5, and subsequently murders her. Vogel decides that Dave’s presence outside that particular bank was not a coincidence, and has him kidnapped and tortured for information by sand blasting an ankle and one of his legs. Dave gives in, and Lew has Gerald Pyke and Nick Burton — two corrupt policemen working on his payroll, kidnap Eddie at Terry's garage. Meanwhile, Terry discovers explicit photographs of important government officials among their loot and uses them to secure passports and new identities for the gang.


title: The Bank Job

text: Vogel's men track down and murder Bambas and Guy Singer. Eddie refuses to cooperate with Vogel, who has Gerald execute Dave and threatens to kill Eddie unless Terry delivers the ledger to him; Terry agrees to meet up with Vogel at Paddington Station to exchange the ledger for Eddie. He arranges for the meeting to happen at the same time as he will be picking up the new passports and immunity of prosecution of the robbery from the MI5 in exchange for the pictures of Princess Margaret. Meanwhile, Terry sends Kevin to honest cop Roy Given with a page torn from the ledger. Vogel becomes spooked and tries to flee, but Terry attacks and beats him—only to be arrested by the police. However, Given has Terry released and uses the information he supplied to arrest Lew, Gerald and Nick. In Trinidad, Michael X is arrested as well and after Benson body is found in a shallow grave his house is burned down. Eddie inherits Terry's car dealership, while Kevin and Martine prepare to begin new lives with their share of the money. Terry and his family leave England and enjoy a carefree life on a boat in a sunny location.


title: The Bank Job

text: It is later revealed Vogel's ledger eventually causes Scotland Yard to undergo a major corruption purge in the police force. The activities of Sonia Bern's brothels make several senior officials resign. Michael X is hanged in Trinidad in 1975 for the murder of Gale Benson and his file in the British National Archive remains classified until 2054. Lew Vogel is sentenced to 8 years in prison. Hakim Jamal is murdered in 1973. The murders of both Bambas and Guy Singer are never solved. The loot taken from the robbery exceeds that of the Great Train Robbery at £4 million. Over 100 safe deposit holders refuse to identify their losses as most of them are criminals. A disclaimer at the end of the film ironically remarks that the names of many of the persons involved in the film have been changed to protect the guilty.


title: The Bank Job

text: The film is in part based on historical facts about the Baker Street robbery. A gang tunnelled into a branch of Lloyds Bank at the junction of Baker Street and Marylebone Road in London on the night of 11 September 1971 and robbed the safe deposit boxes that were stored in the vault. The robbers had rented a leather goods shop named Le Sac two doors down from the bank, and tunnelled approximately 40 feet (12 metres), passing under the Chicken Inn restaurant that was located between the shop and the bank. The tunnelling took three weeks, working on weekends.


title: The Bank Job

text: Ham radio operator Robert Rowlands overheard conversations between the robbers and their rooftop lookout. He contacted police and tape-recorded the conversations, which were subsequently made public. The film includes lines recorded by Rowlands, such as the lookout's comment that "money may be your god, but it's not mine, and I'm fucking off."


title: The Bank Job

text: The film's producers said that they have a source, identified in press reports as George McIndoe, who was an executive producer. McIndoe claimed that he had talked with two of the gang, who even visited the film set. The film's plot includes a fictional issue of a D-Notice by MI5, requesting no further press reports on grounds of national security because a safe deposit box holding sexually compromising pictures of Princess Margaret. The possible connection to Michael X is based on material from McIndoe, who said he had spoken to two men who claimed they were involved robbers. The "Daily Mirror" interviewed a convicted robber who claims to be a perpetrator, and he indicated that embarrassing photos were found but deliberately left behind for the police, including child pornography. The film-makers acknowledged that they made up the character Martine, and David Denby wrote in "The New Yorker" that it is "impossible to say how much of the film's story is true".


title: The Bank Job

text: The fictional character of Lew Vogel may allude to pornographer and racketeer Bernie Silver, a major figure in Soho in the 1960s and early 1970s who was imprisoned in 1975 for the 1956 murder of Tommy "Scarface" Smithson, and also to later events surrounding his associate pornographer James Humphreys. "The Sunday People" published photographs in 1972 of Commander Kenneth Drury, the head of the Metropolitan Police Flying Squad, spending a luxurious two-week holiday with Humphreys in Cyprus, and a police raid on Humphreys' house uncovered a diary cataloguing itemised payments to 17 police officers. Humphreys was imprisoned for eight years in 1974 for wounding his wife's former lover. He then turned Queen's Evidence, testifying against some of Scotland Yard's most senior officers in two major corruption trials in 1977, for which he received a Royal Pardon and was released from prison. In 1994, Humphreys was imprisoned for 12 months for living off the earnings of prostitutes.


title: The Bank Job

text: The introduction of Michael X's character showing him leading a landlord locked in a slave collar is based on a historical incident. A passing glance at a photo of John Lennon found in Michael X's safety deposit box is inspired by Lennon's support for Michael X's "Black House" headquarters depicted in the film, and Lennon posting his bail.


title: The Bank Job

text: Part of the filming took place on location at the offices of Websters, 136 Baker Street, where the rooftops were used for lookout locations. The exterior scenes of the bank and adjacent shops were done at Pinewood Studios on a specially constructed set of Baker Street, to retain an authentic feel of the period and to allow for greater control. This partial set was extended using visual effects.


title: The Bank Job

text: The production also shot on location inside the Aldwych Underground station, and at Paddington station as itself. The crew used Chatham Historic Dockyard to shoot the sequence at the side entrance of Paddington, where the final showdown between Terry and Lew Vogel takes place.


title: The Bank Job

text: The review aggregator Rotten Tomatoes reports that 80% of 148 critics gave the film a positive review, with an average rating of 6.8/10. The website's critics consensus reads: "Well cast and crisply directed, "The Bank Job" is a thoroughly entertaining British heist thriller." Metacritic reports the film has a weighted average score of 69 out of 100 based on 32 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore graded the film an average "B+" on an A+ to F scale.


title: The Bank Job

text: "The Bank Job" grossed $30.1 million in the United States and Canada, as well as $36.1 million in other territories (including $8.1 million in the UK), for a worldwide total of $66.1 million.


title: The Bank Job

text: The film opened at No. 4 in North America and grossed US$5.9 million in 1,603 cinemas in its opening weekend.


title: Light heavyweight

text: Light heavyweight, also referred to as junior cruiserweight or light cruiserweight, is a weight class in combat sports.


title: Light heavyweight

text: In professional boxing, the division is above and up to , falling between super middleweight and cruiserweight.


title: Light heavyweight

text: The light-heavyweight class has produced some of boxing's greatest champions: Bernard Hopkins (who, upon becoming champion, broke the record for oldest man to win a world title), Archie Moore was the FIRST oldest man to become champion Tommy Loughran, Billy Conn, Joey Maxim, Archie Moore, Michael Moorer, Bob Foster, Ann Wolfe, Michael Spinks, Dariusz Michalczewski, Roy Jones Jr., Sergey Kovalev and Zsolt Erdei.


title: Light heavyweight

text: Many light heavyweight champions unsuccessfully challenged for the heavyweight crown until Michael Spinks became the first reigning light heavyweight champion to win the heavyweight championship. Bob Fitzsimmons captured the light-heavyweight championship after losing his heavyweight championship. Two all-time great heavyweight champions, Ezzard Charles and Floyd Patterson, started out as light heavyweights. Charles defeated Archie Moore and Joey Maxim several times in non-title bouts before becoming heavyweight champion and Patterson lost an eight-round decision to Joey Maxim before becoming heavyweight champion himself. Evander Holyfield successfully moved up from the light-heavyweight division to the cruiserweight division and eventually the heavyweight division and became undisputed champion of the latter two.


title: Light heavyweight

text: Below is a list of longest reigning light heavyweight champions in boxing measured by the individual's longest reign. Career total time as champion (for multiple time champions) does not apply.


title: Light heavyweight

text: In amateur boxing, light heavyweight is a weight division above and up to , falling between middleweight and heavyweight.


title: Ken Thompson

text: Kenneth Lane Thompson (born February 4, 1943) is an American pioneer of computer science. Thompson worked at Bell Labs for most of his career where he designed and implemented the original Unix operating system. He also invented the B programming language, the direct predecessor to the C programming language, and was one of the creators and early developers of the Plan 9 operating system. Since 2006, Thompson has worked at Google, where he co-developed the Go programming language.


title: Ken Thompson

text: Other notable contributions included his work on regular expressions and early computer text editors QED and ed, the definition of the UTF-8 encoding, and his work on computer chess that included the creation of endgame tablebases and the chess machine Belle. He won the Turing Award in 1983 with his long-term colleague Dennis Ritchie.


title: Ken Thompson

text: Thompson was born in New Orleans, Louisiana. When asked how he learned to program, Thompson stated, "I was always fascinated with logic and even in grade school I'd work on arithmetic problems in binary, stuff like that. Just because I was fascinated."


title: Ken Thompson

text: Thompson received a Bachelor of Science in 1965 and a master's degree in 1966, both in electrical engineering and computer science, from the University of California, Berkeley, where his master's thesis advisor was Elwyn Berlekamp.


title: Ken Thompson

text: Thompson was hired by Bell Labs in 1966. In the 1960s at Bell Labs, Thompson and Dennis Ritchie worked on the Multics operating system. While writing Multics, Thompson created the Bon programming language. He also created a video game called "Space Travel". Later, Bell Labs withdrew from the MULTICS project. In order to go on playing the game, Thompson found an old PDP-7 machine and rewrote "Space Travel" on it. Eventually, the tools developed by Thompson became the Unix operating system: Working on a PDP-7, a team of Bell Labs researchers led by Thompson and Ritchie, and including Rudd Canaday, developed a hierarchical file system, the concepts of computer processes and device files, a command-line interpreter, pipes for easy inter-process communication, and some small utility programs. In 1970, Brian Kernighan suggested the name "Unix", in a pun on the name "Multics". After initial work on Unix, Thompson decided that Unix needed a system programming language and created B, a precursor to Ritchie's C.


title: Ken Thompson

text: In the 1960s, Thompson also began work on regular expressions. Thompson had developed the CTSS version of the editor QED, which included regular expressions for searching text. QED and Thompson's later editor ed (the standard text editor on Unix) contributed greatly to the eventual popularity of regular expressions, and regular expressions became pervasive in Unix text processing programs. Almost all programs that work with regular expressions today use some variant of Thompson's notation. He also invented Thompson's construction algorithm used for converting regular expressions into nondeterministic finite automata in order to make expression matching faster.


title: Ken Thompson

text: Throughout the 1970s, Thompson and Ritchie collaborated on the Unix operating system; they were so prolific on Research Unix that Doug McIlroy later wrote, "The names of Ritchie and Thompson may safely be assumed to be attached to almost everything not otherwise attributed." In a 2011 interview, Thompson stated that the first versions of Unix were written by him, and that Ritchie began to advocate for the system and helped to develop it:


title: Ken Thompson

text: Feedback from Thompson's Unix development was also instrumental in the development of the C programming language. Thompson would later say that the C language "grew up with one of the rewritings of the system and, as such, it became perfect for writing systems".


title: Ken Thompson

text: In 1975, Thompson took a sabbatical from Bell Labs and went to his alma mater, UC Berkeley. There, he helped to install Version 6 Unix on a PDP-11/70. Unix at Berkeley would later become maintained as its own system, known as the Berkeley Software Distribution (BSD).


title: Ken Thompson

text: In early 1976, Thompson wrote the initial version of Berkeley Pascal at the Computer Science Division, Department of Electrical Engineering and Computer Science, UC Berkeley (with extensive modifications and additions following later that year by William Joy, Charles Haley and faculty advisor Susan Graham).


title: Ken Thompson

text: Thompson wrote a chess-playing program called "chess" for the first version of Unix (1971). Later, along with Joseph Condon, Thompson created the hardware-assisted program Belle, a world champion chess computer. He also wrote programs for generating the complete enumeration of chess endings, known as endgame tablebases, for all 4, 5, and 6-piece endings, allowing chess-playing computer programs to make "perfect" moves once a position stored in them is reached. Later, with the help of chess endgame expert John Roycroft, Thompson distributed his first results on CD-ROM. In 2001, the "ICGA Journal" devoted almost an entire issue to Thompson's various contributions to computer chess.


title: Ken Thompson

text: In 1983, Thompson and Ritchie jointly received the Turing Award "for their development of generic operating systems theory and specifically for the implementation of the UNIX operating system". His acceptance speech, "Reflections on Trusting Trust", presented the persistent compiler backdoor attack now known as the "Thompson hack" or trusting trust attack, and is widely considered a seminal computer security work in its own right.