title: Uniforms of the British Army

text: When officers are taking part in parades and formations with other ranks in warm weather areas, they wear either No.3 or No.6 dress.


title: Uniforms of the British Army

text: There had been an Other Ranks pattern of warm weather Service Dress, but this fell out of use after the 1950s.


title: Uniforms of the British Army

text: The "bush jacket" uniform (in Australia, this is known as the "safari uniform"). It is issued to all officers and ORs on posting to a warm-weather station. It consists of a stone coloured bush-style four-button jacket worn with or without a shirt and tie underneath and stone coloured trousers. It is worn by all ranks for parades (as with No. 2 Dress), unless No. 3 dress is worn, and by ORs for all other occasions.


title: Uniforms of the British Army

text: The tropical shirt-and-trousers uniform, consisting of a stone coloured short-sleeve shirt worn with stone coloured trousers (tartan kilt or trews for Scottish regiments), and regimental headgear. Regimental/Corps stable belts may be worn in this order of dress.


title: Uniforms of the British Army

text: The current No.8 Dress, which was introduced as part of Project PECOC in 2011, is known as Personal Clothing System – Combat Uniform (PCS-CU); it is based around a Multi-Terrain Pattern (MTP) windproof smock, a lightweight jacket and trousers with a range of ancillaries such as thermals and waterproofs. Prior to 2011 separate designs of combat dress were provided for use in desert, temperate and tropical regions (numbered 5, 8 and 9, respectively, in the uniform regulations) all of which were replaced by PCS-CU.


title: Uniforms of the British Army

text: PCS-CU is designed to be lightweight, yet durable enough to be used throughout rigorous activities soldiers find themselves performing, and with the idea that layers of clothing are warmer and more flexible than a single thick layer. The PCS-CU jacket is always worn loose, with sleeves rolled down; however, an MTP pattern shirt was introduced in 2015 and this may be worn during the Summer months tucked into the trousers with sleeves rolled up. While the shirt may be worn during the winter months, it is always worn with the sleeves rolled down.


title: Uniforms of the British Army

text: Some Regiments and Corps wear a stable belt in No 8 dress whilst others restrict its use to Nos 13 and 14 Dress. On exercises and operations the stable belt is replaced with a plain green field belt, with nylon Personal Load Carrying Equipment and the Osprey body armour vest with pouches attached using the PALS system being worn for load-bearing purposes.


title: Uniforms of the British Army

text: In the twentieth century the British army introduced Tactical Recognition Flashes (TRFs) – worn on the right arm of a combat uniform, this distinctive insignia denotes the wearer's regiment or corps (or subdivision thereof, these being the ALS, ETS, RMP, MPGS, and SPS, in the case of the AGC).


title: Uniforms of the British Army

text: Working headdress is normally worn, which is typically a beret. The colour of the beret usually shows what type of regiment the wearer is from. The colours are as follows:


title: Uniforms of the British Army

text: A regiment or corps cap badge is worn on the beret or other headdress worn in No. 8 Dress. The badge is positioned above the left eye when a beret or a caubeen is worn; the badge worn on the Tam O'Shanter sits above the left ear. Uniquely D (London Irish Rifles) Company of The London Regiment wear their cap badge over the right eye, on their caubeen. Troops from other services, regiments or corps on attachment to units with distinctive coloured berets often wear the latter with their own cap badge. Colonels, brigadiers and generals usually continue to wear the beret of the regiment or corps to which they used to belong with the cap badge distinctive to their rank.


title: Uniforms of the British Army

text: The Royal Regiment of Fusiliers wears a feather hackle on the beret, they are now the only infantry regiment to wear the navy blue beret. Hackles are also worn by other regiments with Fusilier heritage: e.g. other ranks of the Royal Welsh wear white hackles on their berets (inherited from the Royal Welch Fusiliers).


title: Uniforms of the British Army

text: The Royal Regiment of Scotland and the Royal Irish Regiment, instead of the beret, wear the Tam O'Shanter and the caubeen respectively, both of which feature hackles. The Tam O'Shanter is also worn by some UOTCs and Army Reserve units in Scotland.


title: Uniforms of the British Army

text: Prior to the adoption of PCS-CU, the beret was often substituted by the Mk 6 Combat Helmet with a DPM cover (or desert DPM if worn with No.5 Dress); this has since been replaced by the Mk 7 helmet with an MTP cover and some scrim netting for the insertion of additional camouflage. In jungle conditions, the helmet is usually substituted by an MTP bush hat – or equally, in cold conditions, an MTP peaked hat (Cap, Extreme Cold Weather), a rolled woollen tube known as a cap comforter, or other specialized headgear. When the British Army finds itself in peacekeeping roles, regimental headdress is worn (where the tactical situation allows) in preference to the helmet or MTP hat, in order to appear less hostile to local civilians. When working for the United Nations, soldiers will wear the pale blue UN beret.


title: Uniforms of the British Army

text: The British Army's temperate mess dress includes a waist-length short jacket, with which men wear trousers, overalls or a kilt; and for women a long skirt. No. 10 dress is normally worn by sergeants and above for formal evening functions. Colours vary greatly from unit to unit but generally match those of the traditional full dress of the regiment or corps. Thus mess jackets can be scarlet, dark blue or green with facings and waistcoats in regimental colours. Two basic patterns of jacket are worn: the high collared "cavalry" style and the open-fronted one with lapels formerly worn by officers of infantry regiments. The version of No. 10 dress worn by officers frequently includes elaborate braiding on the waistcoats.


title: Uniforms of the British Army

text: Mess dress was derived from the shell jacket (infantry) or stable jacket (cavalry): a short, working jacket in full-dress colours, which 19th-century officers paired with a uniform waistcoat for evening wear.


title: Uniforms of the British Army

text: This order of dress includes various types of protective clothing ranging from the standard overalls to specialist kit worn by aircrews, chefs, medics and others.


title: Uniforms of the British Army

text: No. 12 also covers whatever day-to-day working dress may be authorised at a local or regimental level. Formerly an olive green shirt and trousers were often worn, but this has been replaced with combat dress shirt and trousers worn with beret and stable belt (identical to that of No. 7 Dress).


title: Uniforms of the British Army

text: In 2018 it was announced that although Nos 13 and 14 Dress remain an authorised order of dress to be worn on appropriate occasions, Barrack Dress trousers, skirts and short-sleeved shirts were to be withdrawn.


title: Uniforms of the British Army

text: It consists of khaki barrack dress trousers (as issued under the Future Army Dress (FAD) programme) and the standard issued shirt from No.2 dress with a pullover sweater. The stable belt, a wide belt made of tough woven fabric, is often worn. The fabric of the belt itself is in regimental colours, either a single colour or striped along its length (the origin of these combinations is often traditional, derived from historic uniform colours and facings, and may coincide with the design of a particular unit's TRF). It is traditionally fastened with a set of leather straps and buckles on the wearer's left-hand side (in some units to their front), but may alternatively have a metal locket arrangement, or a plate at the front bearing regimental, or formation insignia. The stable belt is worn over the pullover by some Regiments and Corps.


title: Uniforms of the British Army

text: Some regiments' officers and WOs may wear coloured pullovers in place of the green pattern; the following regimental patterns and colours are authorised:


title: Uniforms of the British Army

text: A regimental pattern coloured side cap may be worn at the commanding officer's discretion. Some warrant officers in a few regiments customarily carry a Pace stick when in this order of dress.


title: Uniforms of the British Army

text: As for No.13, but with the shirt sleeves rolled up to above elbow level or the issued short sleeve barrack dress shirt. The pullover is not worn.


title: Uniforms of the British Army

text: Battle Dress refers to the combat utility uniform issued from 1939 to the early 1960s that replaced No.2 Service Dress. It is often incorrectly called the ""Pattern 37 uniform"" from the pattern of web gear and accessories introduced earlier in 1937. It consisted of a short jacket called a "blouse" and high-waisted trousers made of khaki wool serge worn with a beret or side-cap. It was also issued in RAF Blue-Grey for the Royal Air Force, Navy Blue for the Royal Navy / Royal Navy Volunteer Reserve and Dark Blue for the Civil Defence Corps. Officers were permitted to have the collar of the BD jacket tailored to have faced lapels, allowing the wearing of a shirt and tie underneath, inspiring the later American M44 'Ike Jacket'. Originally introduced in 1939, design modifications were made in 1940 ("Austerity Pattern"), 1942 ("Pattern 40"), and 1949 ("Pattern 49"). It became a barracks and walking-around dress with the introduction of the Jungle Green combat dress uniforms in the mid-1940s and is synonymous with the British soldier of the 1940s and 50s.


title: Uniforms of the British Army

text: Battledress had some drawbacks. The uniform was designed for the temperate climate of the United Kingdom or Northern Europe. It was found too heavy for wear in summer, the sunnier climate of Southern Europe (like the Mediterranean Theatre) or in tropical or jungle climates (like the Pacific Theatre). Conversely it was too lightweight for cold weather or high altitudes (like Korea). It was also very difficult to iron due to the complex series of pleats. It became obsolete in 1961 and No.2 Service Dress was reintroduced in its place in 1962 for barracks and parade use.


title: Uniforms of the British Army

text: Desert combat clothing is listed as: hat, jacket and trousers DPM and were issued to soldiers and other British military personnel posted to Cyprus, the Middle East and Afghanistan. As issued in the 1991 Gulf War, this uniform was identical to the No. 9 DPM tropical uniform, except for the multi-tone desert camouflage. This was quickly replaced with a two-tone desert version of DPM camouflage (the base colour and one other). Smocks were also available in the desert DPM, including the SAS pattern windproof smock. Covers for combat helmets and body armour were also made in this camouflage prior to their replacement by Multi-Terrain Pattern (MTP) camouflage.


title: Uniforms of the British Army

text: Since 2011, No 5 Dress has no longer been issued due to the introduction of the Personal Clothing System – Combat Uniform (PCS-CU).


title: Uniforms of the British Army

text: No.9 dress is no longer provided, being replaced by PCS-CU. It was made from cotton or poly-cotton DPM material of a lighter weight than pre-Combat Soldier 95 No 8 Dress. The jacket was similar in cut to a shirt and had epaulettes fitted to the shoulders. Its sleeves could be rolled above the elbow and the shirt tucked into the trousers for a smarter appearance for example in barracks. There is a large pocket on each breast, closed with a button-down flap, and a first field dressing pocket on one sleeve. This uniform was normally worn with a DPM bush hat; out of the field, regimental headdress was often worn. The trousers had button down belt loops when carrying equipment was not worn, a uniform belt was worn in these loops.


title: Uniforms of the British Army

text: Prior to the English Civil War of 1642–51 the only significant instances of uniform dress in British military culture occurred in small bodyguard units, notably the Yeoman of the Guard. Other than these royal bodyguards, there was no standing English Army before the English Civil War, only the permanent, but part-time, Militia for home defence and temporary forces raised for expeditions abroad. Scotland, which remained independent from England until the 1707 Acts of Union created the Kingdom of Great Britain, also raised a standing Scottish Army after the English Civil War (known in Scotland and Ireland as the Wars of the Three Kingdoms), which merged with the English Army in 1707 to create the British Army. During the Civil War the Parliamentary New Model Army adopted a fairly standardized pattern of red clothing, a practice which continued with the small regular English Army of the Restoration period. The Scottish Army initially appears to have issued grey uniforms but began to imitate English Army practice by adopting red uniforms from the 1680s.


title: Uniforms of the British Army

text: By the end of the 17th century, the colour of the uniforms of the English Army was largely settled on red with few exceptions. Red tunics became the norm for line infantry, including foot guards, and certain other units. The practice of distinguishing regiments by different facings was in general use by the early 18th century. In the decades after the end of the Napoleonic Wars, British Army uniforms trended towards extravagance rather than practicality. That trend was reversed during the Crimean War with the adoption of looser fitting tunics and more practical headdresses. At the time, the Royal Artillery, Royal Engineers, Royal Sappers and Miners, and the Commissariat Department and transport organs were not part of the British Army but of the Board of Ordnance. After the Crimean War, the Board of Ordnance was abolished and these units (with the Royal Sappers and Miners having been amalgamated into the Royal Engineers) and the Commissariat, stores and transport organs (re-organized ultimately into the Army Ordnance Corps and the Army Service Corps, both since amalgamated into today's Royal Logistic Corps), were transferred to the British Army. The Royal Artillery wore dark blue tunics. Red tunics were however retained by the Royal Engineers (the pre-Crimean War, officer-only "Royal Engineers" and the "Corps of Royal Sappers and Miners", made up of other-ranks, originally wore blue jackets, but first wore red during the Napoleonic Wars), line infantry and most other units, including cavalry, except in India where drab coloured garments were introduced in 1848 and worn increasingly from 1857 on.


title: Uniforms of the British Army

text: Until 1873 the other ranks of most infantry regiments wore tunics in madder red. In that year the brighter shade of scarlet was adopted, having previously been limited to officers, sergeants and all ranks of certain regiments of cavalry.


title: Uniforms of the British Army

text: General issue of full dress uniforms ceased at the start of the First World War. The Household Division resumed wearing their scarlet and blue full dress in 1920, but for the remainder of the Army it was only worn by regimental bands, or else on certain limited social or ceremonial occasions (an example of the latter was the 1937 Coronation when mounted detachments from participating cavalry regiments were issued with full dress uniforms for the occasion). The reason for not generally reintroducing the distinctive full dress between the wars was primarily financial, as the scarlet cloth required expensive red cochineal dye.


title: Uniforms of the British Army

text: Not all Full Dress uniforms were (or are) scarlet. Historically, the great bulk of the British Army wore red or scarlet (with the Royal Artillery distinctive in blue). In the early nineteenth century, the success of élite Hungarian Hussars and Polish Lancers inspired the creation of similar units in other European armies, which also adopted their highly-distinctive forms of dress; in the British Army, these light cavalry uniforms were mostly dark blue. At the same time, the formation of regiments of Riflemen (who had always worn dark green rather than red, for reasons of camouflage) led to the full-dress use of 'Rifle green' uniforms in Rifle regiments. Line Infantry regiments though invariably wore scarlet, as did heavy cavalry (with the exception of the Royal Horse Guards ('The Blues') and the 6th Dragoon Guards).


title: Uniforms of the British Army

text: In January 1902, the British army adopted a universal khaki uniform for home service wear, the Service Dress, after experience with lighter khaki drill in India and South Africa. The traditional scarlet, blue and green uniforms were retained for full dress and off duty "walking out dress" wear. Details of these colourful uniforms varied greatly between regiments and branches of the army. The early use of camouflage in the form of plain khaki reflected the exigencies of colonial war and the freedom allowed, and taken, by many of the officers who fought it. The adoption of khaki for active service resulted from the development of weapons of greater accuracy and range combined with smokeless powder during the late 19th century, making low-visibility on the battlefield a matter of priority.


title: Uniforms of the British Army

text: In 1938, the British Army adopted a revolutionary and practical type of uniform for combat known as Battledress; it was widely copied and adapted by armies around the world. During the Second World War a handful of British units adopted camouflage-patterned clothes, for example the Airborne Forces' Denison smock and the windproof suit. In the late 1960s, the Disruptive Pattern Material (DPM) camouflage uniform was adopted across the whole of the British Army. It remained in service, with periodical updates, for the next 40 years. From 2009 it began to be replaced by a new Multi-Terrain Pattern (MTP) uniform. This "Personal Clothing System (Combat Uniform)" has been developed for use across the British Armed Services, making use of the latest in clothing technology. Unlike the different versions of DPM issued for use in different terrains, the new MTP kit is issued in just one version, designed to function effectively across a variety of terrains, meeting a need identified in recent combat experience.


title: Uniforms of the British Army

text: From the time of the New Model Army broad-brimmed Flemish hats were worn. After the restoration of the Monarchy in 1660 Monmouth Cap, a broad-brimmed, low-crowned felt hat, with one side of the brim generally turned up, was introduced. Then came the tall Flemish hat which developed into the low-crowned Carolina hat and the tricorne hat. During James II’s reign the grenadier cap was introduced for grenadiers. Scottish Highland infantry regiments from about 1763 wore feather bonnets.


title: Uniforms of the British Army

text: At the beginning of the 19th century the shako was introduced. In 1811 a lighter, smaller version of it was adopted. In 1816 an improved ‘Prussian’ style of black felt shako with a glazed top was issued. This soon evolved into a shako much wider at the top and rather bell shaped. In 1844 the so-called Albert shako was substituted. However during the Crimean war it proved impractical for active service and the round, undress, Kilmarnock forage cap was worn by most of the regiments engaged. The Kilmarnock forage cap was superseded in kilted Highland regiments by the Glengarry bonnet in 1851. After the Crimean War a lighter shako, after the French style of the period, was introduced, and in 1868 the last model of British shako: smaller and tilted a little more to the front, was introduced. Cap comforters were introduced in the late 19th century as an informal working headdress.


title: Uniforms of the British Army

text: Following the Battle of Waterloo, all members of the newly named Grenadier Guards were permitted to wear the bearskin. This privilege had previously been restricted to the grenadier company of the regiment. In 1831, this distinction was extended to the other two regiments of foot guards (Coldstream and Scots) in existence at that date. Bearskins were subsequently adopted by the Irish Guards and the Welsh Guards when raised in 1900 and 1915 respectively.


title: Uniforms of the British Army

text: The Home Service Helmet was introduced in 1879 and the Foreign Service pith helmet was used in hot climates. During the early years of the 20th century the blue Field Service Cap, the Brodrick cap and the Slouch hat were all worn. In the First World War, a khaki Balmoral bonnet was introduced in 1915 for wear in the trenches by Scottish infantry. This came to be known as the "bonnet, tam o' shanter". The Brodrick cap was unpopular and was replaced in 1905, by a round khaki peaked cap used until the outbreak of World War II. In 1938 the Field Service Cap of the 1890s was re-introduced in a khaki version and during WWII it gave way to the General Service Cap. Cavalry regiments and the Tank Corps wore soft berets. After the war the beret proved a useful, practical and comfortable cap and is still used.


title: Broderick Crawford

text: William Broderick Crawford (December 9, 1911 – April 26, 1986) was an American stage, film, radio, and television actor, often cast in tough-guy roles and best known for his Oscar- and Golden Globe-winning portrayal of Willie Stark in "All the King's Men" (1949) and for his starring role as Dan Mathews in the television series "Highway Patrol" (1955–1959).


title: Broderick Crawford

text: Until filming "All the King's Men", Crawford's career had been largely limited to "B films" in supporting or character roles. He realized he did not fit the role of a handsome leading man, once describing himself as looking like a "retired pugilist".


title: Broderick Crawford

text: Crawford was born in Philadelphia, Pennsylvania, to Lester Crawford ( Lester Crawford Pendergast) and Helen Broderick, who were both vaudeville performers, as his grandparents had been. Lester appeared in films in the 1920s and 1930s. Helen Broderick had a career in Hollywood comedies, including memorable appearances in the Fred Astaire and Ginger Rogers musicals "Top Hat" and "Swing Time".


title: Broderick Crawford

text: Young William joined his parents on the stage, working for producer Max Gordon. After graduating from preparatory high school Dean Academy (now Dean College) in Franklin, Massachusetts, Crawford was accepted by Harvard College where he enrolled. However, after only three weeks at Harvard he dropped out to work as a stevedore on the New York docks.


title: Broderick Crawford

text: Crawford returned to vaudeville and radio, which included a period with the Marx Brothers in the radio comedy show "Flywheel, Shyster, and Flywheel".


title: Broderick Crawford

text: He played his first serious character as a footballer in "She Loves Me Not" at the Adelphi Theatre, London in 1932. Crawford was originally stereotyped as a fast-talking tough guy early in his career and often played villainous parts.


title: Broderick Crawford

text: He gained fame in 1937 as Lenny in "Of Mice and Men" on Broadway. He moved to Hollywood and began working in films.


title: Broderick Crawford

text: Crawford made his film debut for Sam Goldwyn in "Woman Chases Man" (1937). He was in "Start Cheering" (1938) at Columbia but missed out on reprising his stage performance as Lenny in the film version of "Of Mice and Men", losing it to Lon Chaney Jr.


title: Broderick Crawford

text: Crawford signed a contract with Paramount. He appeared in some "B" films: "Ambush" (1939), "Sudden Money" (1939) and "Undercover Doctor" (1939). He had a good role in the prestigious "Beau Geste".


title: Broderick Crawford

text: After appearing in "Island of Lost Men" (1939), Crawford had a "Beau Geste"-style role in "The Real Glory" (1939). He appeared in two films for Walter Wanger and Tay Garnett, "Eternally Yours" (1939) and "Slightly Honorable" (1939).


title: Broderick Crawford

text: Crawford moved over to Universal, where he was given his first starring role, in the "B" picture "I Can't Give You Anything But Love, Baby" (1940).


title: Broderick Crawford

text: He had support parts in "When the Daltons Rode" (1940); "Seven Sinners" (1940), for Garnett; and "Trail of the Vigilantes" (1940). He went back to Paramount for "Texas Rangers Ride Again" (1940) then returned to Universal for "The Black Cat" (1941), "Tight Shoes" (1941), and "Badlands of Dakota" (1941).


title: Broderick Crawford

text: Crawford had one of the leads in "South of Tahiti" (1941) and "North to the Klondike" (1941). He supported Edward G. Robinson in "Larceny, Inc." (1942) and George Raft in "Broadway" (1942), and co-starred with Robert Stack in "Men of Texas" (1942) and Constance Bennett in "Sin Town" (1942).


title: Broderick Crawford

text: During World War II, Crawford enlisted in the United States Army Air Corps. Assigned to the Armed Forces Network, he was sent to Britain in 1944 as a sergeant, he served as an announcer for the Glenn Miller American Band. He was one of two announcers on Miller's weekly program "I Sustain the Wings", prior to Miller and the band being shipped to England.


title: Broderick Crawford

text: He returned to films with roles in "Black Angel" (1946), a film noir and "Slave Girl" (1947) with Yvonne de Carlo.


title: Broderick Crawford

text: Crawford made "The Flame" (1947) for Republic, and "The Time of Your Life" (1948) for James Cagney's company. He went back to Paramount for "Sealed Verdict" (1948) and had a co-starring role in "Bad Men of Tombstone" (1949) for the King Brothers.


title: Broderick Crawford

text: At Warner Bros Crawford was in "A Kiss in the Dark" (1949) with David Niven and Jane Wyman and "Night Unto Night" (1949) with Ronald Reagan and Viveca Lindfors. He was also in Monogram's "Anna Lucasta" (1949) with Paulette Goddard.


title: Broderick Crawford

text: In 1949, Crawford reached the pinnacle of his acting career when he was cast as Willie Stark, a character inspired by and closely patterned after the life of Louisiana politician Huey Long, in "All the King's Men", a film based on the popular novel by Robert Penn Warren. The film was a huge hit, and Crawford's performance as the bullying, blustering, yet insecure Governor Stark won him the Academy Award for Best Actor.


title: Broderick Crawford

text: The film was made by Columbia who put Crawford under contract. He co-starred with Glenn Ford in "Convicted" (1950), then starred in another hit 'A'-list production with William Holden and Judy Holliday, "Born Yesterday" (1950), directed by George Cukor.


title: Broderick Crawford

text: Crawford starred in "The Mob" (1951), a crime drama. Under the direction of Phil Karlson he starred in "Scandal Sheet" (1952), based on a novel by Sam Fuller.


title: Broderick Crawford

text: MGM borrowed him to play the villain in "Lone Star" (1952), opposite Clark Gable and Ava Gardner. He went to Warner Bros. to star in a comedy, "Stop, You're Killing Me" (1952).


title: Broderick Crawford

text: Crawford returned to Columbia to star in some Westerns, "Last of the Comanches" (1953), and "The Last Posse" (1954). 20th Century Fox borrowed him to co-star with Gregory Peck in Nunnally Johnson's "Night People" (1954).


title: Broderick Crawford

text: Crawford was reunited with Glenn Ford in "Human Desire" (1954), directed by Fritz Lang. Edward Small used him in "Down Three Dark Streets" (1954) and "New York Confidential" (1955).


title: Broderick Crawford

text: In 1955, Crawford assumed the starring role as Rollo Lamar, the most violent of convicts in "Big House, U.S.A.". In the film, Crawford's character is a hardened convict so violent he commands the obedience of even the most violent and psychotic prisoners in the prison yard, including those portrayed by such famous tough-guy actors as Charles Bronson, Ralph Meeker, William Talman, and Lon Chaney Jr.


title: Broderick Crawford

text: Stanley Kramer cast him in a good supporting role in "Not as a Stranger" (1955), which was a big hit. He received an offer in Italy to star in "Il bidone" (1955), directed by Federico Fellini.


title: Broderick Crawford

text: In 1955, television producer Frederick Ziv of ZIV Television Productions offered Crawford the lead role as "Dan Mathews" in the police drama "Highway Patrol", which dramatized law enforcement activities of the California Highway Patrol (CHP). ZIV Television Productions operated on an extremely low budget of $25,000 per episode of "Highway Patrol" with ten percent of gross receipts going to Crawford as per his contract. While the show's scripts were largely fictional, the use of realistic, rapid-fire dialogue, stark film noir styled feel and Crawford's convincing portrayal of a hard-as-nails police official helped make the show an instant success. "Highway Patrol" remained popular during its four years (1955–1959) of first-run syndication, and would continue in repeat syndication on local stations across the United States for many years after. For much of the period from 1955 until 1965 most of Crawford's television roles involved ZIV Television, which was among the relative handful of producers willing to accept the frequent challenges inherent with working with the hard-living and hard-drinking Crawford. Years later, Frederick Ziv admitted in an interview, "To be honest, Broderick could be a handful!"


title: Broderick Crawford

text: "Highway Patrol" helped revive Crawford's career and cement his tough-guy persona, which he used successfully in numerous movie and TV roles for the rest of his life.


title: Broderick Crawford

text: During the series' run he appeared in "The Fastest Gun Alive" (1956) with Ford at MGM, a successful Western; "Between Heaven and Hell" (1956) with Robert Wagner at Fox, directed by Richard Fleischer; and "The Decks Ran Red" (1958) with James Mason for Andrew L. Stone.


title: Broderick Crawford

text: Fed up with the show's hectic shooting schedule, Crawford quit "Highway Patrol" at the end of 1959 in order to make a film in Spain, and try to get his drinking under control.


title: Broderick Crawford

text: Crawford relocated to Europe where he starred in Vittorio Cottafavi's "La vendetta di Ercole" (1960), known in the U.S. as "Goliath and the Dragon".


title: Broderick Crawford

text: Crawford's successful run as Dan Mathews in "Highway Patrol" earned him some two million dollars under his contract with ZIV, which eventually paid him in exchange for his agreement to sign for the pilot and subsequent production of a new ZIV production, "King of Diamonds". Recently back from Europe, and having temporarily stopped drinking, Crawford was signed to play the starring role as diamond industry security chief John King. "King of Diamonds" was picked up for syndication in 1961, but was a failure, the show lasting only one season.


title: Broderick Crawford

text: In 1962, after the end of "King of Diamonds", Crawford returned to acting in motion pictures: "Square of Violence" (1962); "Convicts 4" (1962); Javier Setó's "The Castilian" (1963); "A House Is Not a Home" (1964); "Up from the Beach" (1965); "Kid Rodelo" (1966); "The Oscar" (1966); "The Texican" (1966) with Audie Murphy; "The Vulture" (1967); "Red Tomahawk" (1967).


title: Broderick Crawford

text: After 1970, Crawford again returned to television. From 1970 to 1971, he played the role of Dr. Peter Goldstone in "The Interns".


title: Broderick Crawford

text: In 1977, he starred as J. Edgar Hoover in "The Private Files of J. Edgar Hoover". He would eventually make a series of guest appearances on several TV programs, while starring in several made-for-TV movies.


title: Broderick Crawford

text: He wore the trademark fedora and black suit when he made an appearance as guest host of a 1977 episode of NBC's "Saturday Night Live" that included a spoof of "Highway Patrol".


title: Broderick Crawford

text: In an episode of "CHiPs" Crawford appeared as himself, recognized after being stopped by Officer Poncherello, who presses a reluctant Crawford to give his trademark line from "Highway Patrol" ("Twenty-One-Fifty to Headquarters!").


title: Broderick Crawford

text: Musician Webb Wilder's instrumental, "Ruff Rider" (on the album "It Came From Nashville"), is dedicated to Broderick Crawford in admiration of his "Highway Patrol" character's ability to solve any crime committed in California by setting up a road block.


title: Broderick Crawford

text: Crawford worked in 140 motion pictures and television series during his career and remained an especially durable presence in television.


title: Broderick Crawford

text: Crawford is referenced in the 1977 film "Smokey and the Bandit" in the scene where an Alabama State Patrol officer angrily confronts Sheriff Buford T. Justice (Jackie Gleason) and his damaged vehicle with its horn that won't stop blaring. When Justice starts to introduce himself, the trooper interrupts him and barks, "I don't care if your name is Broderick Crawford!"


title: Broderick Crawford

text: In 1979, Crawford had a cameo as himself in the film "A Little Romance" in which he referenced his hard-drinking persona.


title: Broderick Crawford

text: His last role was as a film producer who is murdered in a 1982 episode of the "Simon & Simon" television series. The actor who played the part of the suspected murderer was Stuart Whitman, who had played the recurring part of Sergeant Walters on "Highway Patrol".


title: Broderick Crawford

text: Throughout his adult life, Crawford was prone to bouts of heavy drinking, and was known for eating large meals. These habits contributed to a serious weight gain for Crawford during the 1950s. His weight and penchant for heavy drinking contributed to several injuries suffered on the set of "Highway Patrol". It became particularly difficult for Crawford to perform certain scenes, such as when he had to enter and exit a police helicopter. In 1958, Crawford broke his ankle while exiting the helicopter and was forced to wear an ankle cast, which may be seen in some episodes.


title: Broderick Crawford

text: Crawford's drinking increased during the filming of "Highway Patrol", eventually resulting in several arrests and stops for driving under the influence of alcohol (DUI), which eventually gained him a suspended driving license. While representing the California Highway Patrol as "Chief Matthews", Crawford was known with considerable embarrassment by the CHP as "Old 502" due to his habit of driving under the influence of alcohol ("Code 502" was the CHP police radio code for drunken driving). According to the show's creator, Guy Daniels, "We got all the dialogue in by noon, or else we wouldn't get it done at all. He [Crawford] would bribe people to bring him booze on the set." The show used their CHP technical advisor, Officer Frank Runyon, to keep Crawford sober: "I was told to keep that son of a bitch away from a bottle. I think his license was suspended. Some scenes had to be shot on private roads so that Brod could drive." Eventually the drinking strained the show's relationship with the CHP as well as Crawford's relationship with ZIV.


title: Broderick Crawford

text: Fellow actor Stuart Whitman became a close friend of Crawford. In an interview Whitman said they both clicked upon meeting when cast in an episode of "Highway Patrol." According to Whitman, who was going through hard financial times, they became fast friends. Crawford would ask Whitman to play his character whenever he was low on cash, so that Whitman would do the dialogue while he was drinking. Whitman said that later down the line he helped to cast Crawford in "The Decks Ran Red" (1958)"." Whitman promised the production that Crawford would stay sober throughout the shoot, and he did.


title: Broderick Crawford

text: Crawford married three times. His first marriage was to actress Kay Griffith in 1940; the couple had two sons together, Christopher Broderick Crawford and Kelly Griffith Crawford. Through his elder son, Christopher, Crawford has one grandchild, Katherine Lee Crawford. Crawford's second marriage was to Joan Tabor in 1962; they divorced in 1967. His third and final marriage, which lasted until Crawford's death in 1986, was to Mary Alice Moore in 1973.


title: Broderick Crawford

text: Crawford has two stars on the Hollywood Walk of Fame, one for motion pictures at 6901 Hollywood Boulevard and another for television at 6734 Hollywood Boulevard.


title: Broderick Crawford

text: His popularity on "Highway Patrol" also led to him being memorialized in the poker game of Texas Hold 'em, in that a starting hand of a 10-4 (a common police radio code) is nicknamed a "Broderick Crawford".


title: Bernard-Henri Lévy

text: Bernard-Henri Lévy (; ; born 5 November 1948) is a French public intellectual. Often referred to in France simply as BHL, he was one of the leaders of the "Nouveaux Philosophes" (New Philosophers) movement in 1976. His opinions, political activism and publications have also been the subject of several controversies over the years.


title: Bernard-Henri Lévy

text: Lévy was born in 1948 in Béni Saf, French Algeria, to an affluent Sephardic Jewish (Algerian-Jewish) family. His family moved to Paris a few months after his birth. He is the son of Dina (Siboni) and André Lévy, the founder and manager of a timber company, Becob, and became a multimillionaire from his business. His father participated in the battle of Monte Cassino during World War II. He is the brother of Philippe Levy and .


title: Bernard-Henri Lévy

text: After attending the Lycée Louis-le-Grand in Paris, Lévy entered the École Normale Supérieure in 1968 and graduated with a degree in philosophy in 1971. His professors there included French intellectuals and philosophers Jacques Derrida and Louis Althusser.


title: Bernard-Henri Lévy

text: Inspired by a call for an International Brigade to aid Bangladeshi separatists made by André Malraux, he became a war correspondent for "Combat" in 1971, covering the Bangladesh Liberation War against Pakistan. The next year he worked as a civil servant for the newly established Bangladesh Ministry of Economy and Planning. His experience in Bangladesh was the source of his first book, "Bangla-Desh, Nationalisme dans la révolution" ("Bangladesh, Nationalism in the Revolution", 1973). He visited Bangladesh again in 2014 to speak at the launch of the first Bengali translation of this book and to open a memorial garden for Malraux at Dhaka University.


title: Bernard-Henri Lévy

text: After his return to France, Lévy became a lecturer at the University of Strasbourg where he taught a course on epistemology. He also taught philosophy at the École Normale Supérieure. He was a founder of the New Philosophers ("Nouveaux Philosophes") school. This was a group of young intellectuals who were disenchanted with communist and socialist responses to the near-revolutionary upheavals in France of May 1968, and who developed an uncompromising moral critique of Marxist and socialist dogmas. In 1977, the television show "Apostrophes" featured Lévy together with André Glucksmann as a "nouveau philosophe". In that year, he published "Barbarism with a Human Face" ("La barbarie à visage humain", 1977), arguing that Marxism was inherently corrupt.


title: Bernard-Henri Lévy

text: Although Lévy's books have been translated into the English language since "La Barbarie à visage humain", his breakthrough in gaining a wider US audience was the publication of a series of essays between May and November 2005 for "The Atlantic Monthly", later collected as a book. In preparation for the series, "In the Footsteps of Tocqueville", Lévy criss-crossed the United States, interviewing Americans, and recording his observations, with direct reference to his claimed predecessor, Alexis de Tocqueville. His work was published in serial form in the magazine and collected as a book by the same title. The book was widely criticized in the United States, with Garrison Keillor publishing a damning review on the front page of "The New York Times Book Review".


title: Bernard-Henri Lévy

text: In February 2016, Lévy published a book entitled "L'Esprit du Judaisme". An English version, "The Genius of Judaism", was published by Random House in January 2017. In his foreword he describes this work as "a sequel, 40 years later" to "Testament de Dieu", his earlier, widely considered seminal, opus. The book explores the reasons why the State of Israel is considered to be a litmus test for Jews and non-Jews alike; as well as the roots and causes of anti-Semitism where it existed, still exists, or is newly nascent. But, most of all, the book is devoted to Levy's "defense of a certain idea of man and God, of history and time, of power, voice, light, sovereignty, revolt, memory, and nature—an idea that contains what I call, in homage to one of the few really great French writers to have understood some of its mystery, the genius of Judaism."


title: Bernard-Henri Lévy

text: Documentary released in 2012. It tells the diplomatic events of the Libyan Civil War seen from the inside by Lévy.


title: Bernard-Henri Lévy

text: Lévy's involvement with the Kurdish cause goes back to the early 1990s. On 16 May 2016, Bernard-Henri Lévy's new documentary film, "Peshmerga", was chosen by the Cannes Film Festival as a special screening to its official selection. Lévy developed his vision of the Iraqi Civil War, through the Peshmerga fighters (Kurdish fighters armed by Westerners and fighting in particular against Daesh). It consists of images shot on the spot by a small team, especially with the help of drones. It portraits notably the female regiments of the Peshmerga army.


title: Bernard-Henri Lévy

text: "The third part of a trilogy, opus three of a documentary made and lived in real time, the missing piece of the puzzle of a lifetime, the desperate search for enlightened Islam. Where is that other Islam strong enough to defeat the Islam of the fundamentalists? Who embodies it? Who sustains it? Where are the men and women who in word and deed strive for that enlightened Islam, the Islam of law and human rights, an Islam that stands for women and their rights, that is faithful to the lofty thinking of Averroes, Abd al-Qadir al-Jilani, Ibn Tufail, and Rumi? ..."


title: Bernard-Henri Lévy

text: "Here, with this third film, this hymn to Kurdistan and the exception that it embodies, I have the feeling of possibly reaching my goal. Kurdistan is Sunnis and Shiites, Chaldeans, Assyrians, Aramaic-speaking Syrians living freely with Muslims, the memory of the Jews of Aqrah, secularism, freedom of conscience and belief. It is where one can run into a Jewish Barzani on the forward line of a front held, 50 kilometers from Erbil, by his distant cousin, a Muslim, Sirwan Barazi… Better than the Arab Spring. The Bosnian dream achieved. My dream. There is no longer really any doubt. Enlightened Islam exists: I found it in Erbil."


title: Bernard-Henri Lévy

text: A year later, Lévy said that "Jews have a special obligation to support the Kurds", and that he hopes "they will come say to the Peshmerga: 'For years now you have spilled your blood to defend the values of our shared civilization. Now it is our turn to defend your right to live freely and independently.. He received the 2017 Cinema for Peace Most Valuable Documentary of the Year Award for such film.


title: Bernard-Henri Lévy

text: Documentary released in 2017. Alongside Kurdish fighters and Iraqi soldiers, Lévy chronicles, street after street, the liberation of the self-proclaimed capital of the organization Islamic State of Iraq and the Levant in Mosul.


title: Bernard-Henri Lévy

text: This documentary, released in 2022, shows Lévy visiting several countries before and during the COVID-19 pandemic as he documents various atrocities and humanitarian crises.


title: Bernard-Henri Lévy

text: In 1981, Lévy published "L'Idéologie française" ("The French Ideology"), arguably his most influential work, in which he offers a dark picture of French history. It was strongly criticised for its journalistic character and unbalanced approach to French history by some of the most respected French academics, including Marxism-critic Raymond Aron.


title: Bernard-Henri Lévy

text: In the 1990s, Lévy called for European and American intervention in the Bosnian War during the breakup of Yugoslavia. He spoke about the Serb POW camps which were holding Muslims. He referred to the Jewish experience in the Holocaust as providing a lesson that mass murder cannot be ignored by those in other nations.


title: Bernard-Henri Lévy

text: At the end of the 1990s, with Benny Lévy and Alain Finkielkraut, Lévy founded an Institute on Levinassian Studies at Jerusalem, in honor of Emmanuel Levinas.


title: Bernard-Henri Lévy

text: In 2006, Lévy joined the British debate over Muslim women's veils by suggesting to "The Jewish Chronicle" that wearing a veil had the effect of dehumanizing the wearer by hiding her face – and said, alluding to a passage by Emmanuel Levinas, that "the veil is an invitation to rape".


title: Bernard-Henri Lévy

text: Lévy has reported from troubled zones during wartime, to attract public opinion, in France and abroad, over those political changes. In August 2008, Lévy reported from South Ossetia, Georgia, during the 2008 South Ossetia war; on that occasion he interviewed the President of Georgia, Mikheil Saakashvili.


title: Bernard-Henri Lévy

text: In 2009, Lévy signed a petition in support of film director Roman Polanski, calling for his release after Polanski was arrested in Switzerland in relation to his 1977 charge for drugging and raping a 13-year-old girl.


title: Bernard-Henri Lévy

text: In January 2010, he publicly defended Popes Pius XII and Benedict XVI against political attacks directed against them from within the Jewish community.


title: Bernard-Henri Lévy

text: At the opening of the "Democracy and its Challenges" conference in Tel Aviv (May 2010) Lévy gave a very high estimation of the Israel Defense Forces, saying "I have never seen such a democratic army, which asks itself so many moral questions. There is something unusually vital about Israeli democracy."


title: Bernard-Henri Lévy

text: In March 2011, he engaged in talks with Libyan rebels in Benghazi, and publicly promoted the international acknowledgement of the recently formed National Transitional Council. Later that month, worried about the 2011 Libyan civil war, he prompted and then supported Nicolas Sarkozy's seeking to persuade Washington, and ultimately the United Nations, to intervene in Libya, ostensibly to prevent a massacre in Benghazi.


title: Bernard-Henri Lévy

text: In May 2011, Lévy defended IMF Chief Dominique Strauss-Kahn when Kahn was accused of sexually assaulting a chambermaid in New York City. Lévy questioned the credibility of the charges against Strauss-Kahn, asking "The Daily Beast", "how a chambermaid could have walked in alone, contrary to the habitual practice of most of New York's grand hotels of sending a 'cleaning brigade' of two people, into the room of one of the most closely watched figures on the planet."


title: Bernard-Henri Lévy

text: In May 2011, Lévy argued for military intervention in Syria against Bashar al-Assad after violence against civilians in response to the 2011 Syrian uprising. He repeated his position in a letter to the Weekly Standard in August 2013.


title: Bernard-Henri Lévy

text: On 9 November 2011, his book, "La guerre sans l'aimer", which tells the story of his Libyan spring, was published.


title: Bernard-Henri Lévy

text: Levy travelled to Kyiv, Ukraine during the Euromaidan in February 2014, actively promoting the events. In February 2015, he performed his play "Hotel Europa" at the National Opera of Ukraine on the first anniversary of the Euromaidan's toppling of the pro-Russian oligarchy of Viktor Yanukovych.


title: Bernard-Henri Lévy

text: In April 2014, he visited Bangladesh for the first time since 1972 to speak at the launch of the first Bengali translation of his first book "Bangla-Desh, Nationalisme dans la révolution" ("Bangladesh, Nationalism in the Revolution", 1973), and to open a memorial garden for Malraux at Dhaka University.


title: Bernard-Henri Lévy

text: On 5 June 2018, he performed his one-man play "Last Exit before Brexit" at the Cadogan Hall in London. The play is a revised version of "Hotel Europa" and argues passionately that Brexit should be abandoned.


title: Bernard-Henri Lévy

text: In December 2019, Lévy visited the Autonomous Administration of North and East Syria, where he met Kurdish fighters led by General Mazloum Abdi.


title: Bernard-Henri Lévy

text: In July 2020, Lévy arrived on Misrata Airport in Libya, then he met some Government of National Accord officials; his visit was met with protests near Tarhuna.


title: Bernard-Henri Lévy

text: Early essays, such as "Le Testament de Dieu" or "L'Idéologie française" faced strong rebuttals from noted intellectuals on all sides of the ideological spectrum, such as historian Pierre Vidal-Naquet and philosophers Cornelius Castoriadis, Raymond Aron, and Gilles Deleuze, who called Lévy's methods "vile".


title: Bernard-Henri Lévy

text: More recently, Lévy was publicly embarrassed when his essay "De la guerre en philosophie" (2010) cited the writings of French philosopher Jean-Baptiste Botul. Botul's writings are actually well-known spoofs, and Botul himself is the purely fictional creation of a living French journalist and philosopher, Frédéric Pagès. The obviousness of the hoax, with Botul's philosophy being "botulism", led to suspicions that Levy had not read Botul, and that he consequently might have used a ghostwriter for his book. Responding in an opinion piece, Levy wrote: "It was a truly brilliant and very believable hoax from the mind of a "Canard Enchaîné" journalist who remains a good philosopher all the same. So I was caught, as were the critics who reviewed the book when it came out. The only thing left to say, with no hard feelings, is kudos to the artist."


title: Bernard-Henri Lévy

text: In the essay "Une imposture française", journalists Nicolas Beau and Olivier Toscer claim that Lévy uses his unique position as an influential member of both the literary and business establishments in France to be the go-between of the two worlds, which helps him to get positive reviews as marks of gratitude, while silencing dissenters. For instance, Beau and Toscer noted that most of the reviews published in France for "Who Killed Daniel Pearl?" did not mention strong denials about the book given by experts and by Pearl's own family including wife Mariane Pearl, who called Lévy "a man whose intelligence is destroyed by his own ego".


title: Bernard-Henri Lévy

text: In 2003, Lévy wrote an account of his efforts to track the murderer of Daniel Pearl, "The Wall Street Journal" reporter who was taken captive and beheaded by Islamic extremists the previous year. At the time of Pearl's death, Lévy was visiting Afghanistan as French President Jacques Chirac's special envoy. He spent the next year in Pakistan, India, Europe and the United States trying to uncover why Pearl's captors held and executed him. The resulting book, "Who Killed Daniel Pearl?", argues it was because Pearl knew too much about the links between Pakistan's Inter-Services Intelligence and al-Qaeda. The book was strongly criticized by both experts and Pearl's own family, including wife Mariane Pearl who called Lévy "a man whose intelligence is destroyed by his own ego".


title: Bernard-Henri Lévy

text: The book was condemned by William Dalrymple, a British historian of India and travel writer, and others, for its lack of rigour and its caricatured depictions of Pakistani society. Dalrymple also criticized Lévy's fictionalised account of Pearl's thoughts in the last moments of his life.


title: Bernard-Henri Lévy

text: Lévy was one of six Jewish public figures in Europe targeted for assassination by a Belgium-based Islamist militant group in 2008. The list included others in France such as Josy Eisenberg. That plot was foiled after the group's leader, Abdelkader Belliraj, was arrested on unrelated murder charges from the 1980s.


title: Bernard-Henri Lévy

text: Lévy has been married three times. His eldest daughter by his first marriage to Isabelle Doutreluigne, Justine Lévy, is a best-selling novelist. He has a son, Antonin-Balthazar Lévy, by his second wife, Sylvie Bouscasse. He is currently married to French actress and singer Arielle Dombasle. The affair between Lévy and English socialite Daphne Guinness was an open secret known amongst US society columnists since 2008. On 13 July 2010, Daphne Guinness confirmed the stories to Harper's Bazaar.


title: Bernard-Henri Lévy

text: Lévy is Jewish, and he has said that Jews ought to provide a unique Jewish moral voice in society and politics.


title: Bernard-Henri Lévy

text: Lévy has been friends with Nicolas Sarkozy since 1983. Relations between them deteriorated during Sarkozy's 2007 presidential run in which Lévy backed the Socialist candidate Ségolène Royal and also described Sarkozy as "A man with a warrior vision of politics". However, they grew closer again after Sarkozy's victory.


title: Bernard-Henri Lévy

text: In 2004, his fortune amounted to 150 million euros. The owner of seven companies, he inherited most of the fortune from his parents, which was complemented by stock exchange investments. In 2000 he was suspected of insider trading by the "Commission des opérations de bourse".


title: Bernard-Henri Lévy

text: Lévy's works have been translated into many different languages; below is an offering of works available in either French or English.


title: Four color theorem

text: In mathematics, the four color theorem, or the four color map theorem, states that no more than four colors are required to color the regions of any map so that no two adjacent regions have the same color. "Adjacent" means that two regions share a common boundary curve segment, not merely a corner where three or more regions meet. It was the first major theorem to be proved using a computer. Initially, this proof was not accepted by all mathematicians because the computer-assisted proof was infeasible for a human to check by hand. The proof has gained wide acceptance since then, although some doubters remain.


title: Four color theorem

text: The four color theorem was proved in 1976 by Kenneth Appel and Wolfgang Haken after many false proofs and counterexamples (unlike the five color theorem, proved in the 1800s, which states that five colors are enough to color a map). To dispel any remaining doubts about the Appel–Haken proof, a simpler proof using the same ideas and still relying on computers was published in 1997 by Robertson, Sanders, Seymour, and Thomas. In 2005, the theorem was also proved by Georges Gonthier with general-purpose theorem-proving software.


title: Four color theorem

text: In graph-theoretic terms, the theorem states that for loopless planar graph formula_1, its chromatic number is formula_2.


title: Four color theorem

text: The intuitive statement of the four color theorem – "given any separation of a plane into contiguous regions, the regions can be colored using at most four colors so that no two adjacent regions have the same color" – needs to be interpreted appropriately to be correct.


title: Four color theorem

text: First, regions are adjacent if they share a boundary segment; two regions that share only isolated boundary points are not considered adjacent. Second, bizarre regions, such as those with finite area but infinitely long perimeter, are not allowed; maps with such regions can require more than four colors. (To be safe, we can restrict to regions whose boundaries consist of finitely many straight line segments. It is allowed that a region entirely surround one or more other regions.) Note that the notion of "contiguous region" (technically: connected open subset of the plane) is not the same as that of a "country" on regular maps, since countries need not be contiguous (e.g., the Cabinda Province as part of Angola, Nakhchivan as part of Azerbaijan, Kaliningrad as part of Russia, and Alaska as part of the United States are not contiguous). If we required the entire territory of a country to receive the same color, then four colors are not always sufficient. For instance, consider a simplified map:


title: Four color theorem

text: In this map, the two regions labeled "A" belong to the same country. If we wanted those regions to receive the same color, then five colors would be required, since the two "A" regions together are adjacent to four other regions, each of which is adjacent to all the others. Forcing two separate regions to have the same color can be modelled by adding a 'handle' joining them outside the plane.


title: Four color theorem

text: Such construction makes the problem equivalent to coloring a map on a torus (a surface of genus 1), which requires up to 7 colors for an arbitrary map.


title: Four color theorem

text: A similar construction also applies if a single color is used for multiple disjoint areas, as for bodies of water on real maps, or there are more countries with disjoint territories. In such cases more colors might be required with a growing genus of a resulting surface. (See the section Generalizations below.)


title: Four color theorem

text: A simpler statement of the theorem uses graph theory. The set of regions of a map can be represented more abstractly as an undirected graph that has a vertex for each region and an edge for every pair of regions that share a boundary segment. This graph is planar: it can be drawn in the plane without crossings by placing each vertex at an arbitrarily chosen location within the region to which it corresponds, and by drawing the edges as curves without crossings that lead from one region's vertex, across a shared boundary segment, to an adjacent region's vertex. Conversely any planar graph can be formed from a map in this way. In graph-theoretic terminology, the four-color theorem states that the vertices of every planar graph can be colored with at most four colors so that no two adjacent vertices receive the same color, or for short:


title: Four color theorem

text: As far as is known, the conjecture was first proposed on October 23, 1852, when Francis Guthrie, while trying to color the map of counties of England, noticed that only four different colors were needed. At the time, Guthrie's brother, Frederick, was a student of Augustus De Morgan (the former advisor of Francis) at University College London. Francis inquired with Frederick regarding it, who then took it to De Morgan (Francis Guthrie graduated later in 1852, and later became a professor of mathematics in South Africa). According to De Morgan:


title: Four color theorem

text: "A student of mine [Guthrie] asked me to day to give him a reason for a fact which I did not know was a fact—and do not yet. He says that if a figure be any how divided and the compartments differently colored so that figures with any portion of common boundary "line" are differently colored—four colors may be wanted but not more—the following is his case in which four colors "are" wanted. Query cannot a necessity for five or more be invented…"


title: Four color theorem

text: "F.G.", perhaps one of the two Guthries, published the question in "The Athenaeum" in 1854, and De Morgan posed the question again in the same magazine in 1860. Another early published reference by in turn credits the conjecture to De Morgan.


title: Four color theorem

text: There were several early failed attempts at proving the theorem. De Morgan believed that it followed from a simple fact about four regions, though he didn't believe that fact could be derived from more elementary facts.


title: Four color theorem

text: This arises in the following way. We never need four colors in a neighborhood unless there be four counties, each of which has boundary lines in common with each of the other three. Such a thing cannot happen with four areas unless one or more of them be inclosed by the rest; and the color used for the inclosed county is thus set free to go on with. Now this principle, that four areas cannot each have common boundary with all the other three without inclosure, is not, we fully believe, capable of demonstration upon anything more evident and more elementary; it must stand as a postulate.


title: Four color theorem

text: One proposed proof was given by Alfred Kempe in 1879, which was widely acclaimed; another was given by Peter Guthrie Tait in 1880. It was not until 1890 that Kempe's proof was shown incorrect by Percy Heawood, and in 1891, Tait's proof was shown incorrect by Julius Petersen—each false proof stood unchallenged for 11 years.


title: Four color theorem

text: In 1890, in addition to exposing the flaw in Kempe's proof, Heawood proved the five color theorem and generalized the four color conjecture to surfaces of arbitrary genus.


title: Four color theorem

text: Tait, in 1880, showed that the four color theorem is equivalent to the statement that a certain type of graph (called a snark in modern terminology) must be non-planar.


title: Four color theorem

text: In 1943, Hugo Hadwiger formulated the Hadwiger conjecture, a far-reaching generalization of the four-color problem that still remains unsolved.


title: Four color theorem

text: During the 1960s and 1970s, German mathematician Heinrich Heesch developed methods of using computers to search for a proof. Notably he was the first to use discharging for proving the theorem, which turned out to be important in the unavoidability portion of the subsequent Appel–Haken proof. He also expanded on the concept of reducibility and, along with Ken Durre, developed a computer test for it. Unfortunately, at this critical juncture, he was unable to procure the necessary supercomputer time to continue his work.


title: Four color theorem

text: Others took up his methods, including his computer-assisted approach. While other teams of mathematicians were racing to complete proofs, Kenneth Appel and Wolfgang Haken at the University of Illinois announced, on June 21, 1976, that they had proved the theorem. They were assisted in some algorithmic work by John A. Koch.


title: Four color theorem

text: If the four-color conjecture were false, there would be at least one map with the smallest possible number of regions that requires five colors. The proof showed that such a minimal counterexample cannot exist, through the use of two technical concepts:


title: Four color theorem

text: Using mathematical rules and procedures based on properties of reducible configurations, Appel and Haken found an unavoidable set of reducible configurations, thus proving that a minimal counterexample to the four-color conjecture could not exist. Their proof reduced the infinitude of possible maps to 1,834 reducible configurations (later reduced to 1,482) which had to be checked one by one by computer and took over a thousand hours. This reducibility part of the work was independently double checked with different programs and computers. However, the unavoidability part of the proof was verified in over 400 pages of microfiche, which had to be checked by hand with the assistance of Haken's daughter Dorothea Blostein .


title: Four color theorem

text: Appel and Haken's announcement was widely reported by the news media around the world, and the math department at the University of Illinois used a postmark stating "Four colors suffice." At the same time the unusual nature of the proof—it was the first major theorem to be proved with extensive computer assistance—and the complexity of the human-verifiable portion aroused considerable controversy .


title: Four color theorem

text: In the early 1980s, rumors spread of a flaw in the Appel–Haken proof. Ulrich Schmidt at RWTH Aachen had examined Appel and Haken's proof for his master's thesis that was published in 1981 . He had checked about 40% of the unavoidability portion and found a significant error in the discharging procedure . In 1986, Appel and Haken were asked by the editor of "Mathematical Intelligencer" to write an article addressing the rumors of flaws in their proof. They replied that the rumors were due to a "misinterpretation of [Schmidt's] results" and obliged with a detailed article . Their magnum opus, "Every Planar Map is Four-Colorable", a book claiming a complete and detailed proof (with a microfiche supplement of over 400 pages), appeared in 1989; it explained and corrected the error discovered by Schmidt as well as several further errors found by others .


title: Four color theorem

text: Since the proving of the theorem, efficient algorithms have been found for 4-coloring maps requiring only O("n") time, where "n" is the number of vertices. In 1996, Neil Robertson, Daniel P. Sanders, Paul Seymour, and Robin Thomas created a quadratic-time algorithm, improving on a quartic-time algorithm based on Appel and Haken's proof. This new proof is similar to Appel and Haken's but more efficient because it reduces the complexity of the problem and requires checking only 633 reducible configurations. Both the unavoidability and reducibility parts of this new proof must be executed by a computer and are impractical to check by hand. In 2001, the same authors announced an alternative proof, by proving the snark conjecture. This proof remains unpublished, however.


title: Four color theorem

text: In 2005, Benjamin Werner and Georges Gonthier formalized a proof of the theorem inside the Coq proof assistant. This removed the need to trust the various computer programs used to verify particular cases; it is only necessary to trust the Coq kernel.


title: Four color theorem

text: The following discussion is a summary based on the introduction to "Every Planar Map is Four Colorable" . Although flawed, Kempe's original purported proof of the four color theorem provided some of the basic tools later used to prove it. The explanation here is reworded in terms of the modern graph theory formulation above.


title: Four color theorem

text: Kempe's argument goes as follows. First, if planar regions separated by the graph are not "triangulated", i.e. do not have exactly three edges in their boundaries, we can add edges without introducing new vertices in order to make every region triangular, including the unbounded outer region. If this triangulated graph is colorable using four colors or fewer, so is the original graph since the same coloring is valid if edges are removed. So it suffices to prove the four color theorem for triangulated graphs to prove it for all planar graphs, and without loss of generality we assume the graph is triangulated.


title: Four color theorem

text: Suppose "v", "e", and "f" are the number of vertices, edges, and regions (faces). Since each region is triangular and each edge is shared by two regions, we have that 2"e" = 3"f". This together with Euler's formula, "v" − "e" + "f" = 2, can be used to show that 6"v" − 2"e" = 12. Now, the "degree" of a vertex is the number of edges abutting it. If "v" is the number of vertices of degree "n" and "D" is the maximum degree of any vertex,


title: Four color theorem

text: But since 12 > 0 and 6 − "i" ≤ 0 for all "i" ≥ 6, this demonstrates that there is at least one vertex of degree 5 or less.


title: Four color theorem

text: If there is a graph requiring 5 colors, then there is a "minimal" such graph, where removing any vertex makes it four-colorable. Call this graph "G". Then "G" cannot have a vertex of degree 3 or less, because if "d"("v") ≤ 3, we can remove "v" from "G", four-color the smaller graph, then add back "v" and extend the four-coloring to it by choosing a color different from its neighbors.


title: Four color theorem

text: Kempe also showed correctly that "G" can have no vertex of degree 4. As before we remove the vertex "v" and four-color the remaining vertices. If all four neighbors of "v" are different colors, say red, green, blue, and yellow in clockwise order, we look for an alternating path of vertices colored red and blue joining the red and blue neighbors. Such a path is called a Kempe chain. There may be a Kempe chain joining the red and blue neighbors, and there may be a Kempe chain joining the green and yellow neighbors, but not both, since these two paths would necessarily intersect, and the vertex where they intersect cannot be colored. Suppose it is the red and blue neighbors that are not chained together. Explore all vertices attached to the red neighbor by red-blue alternating paths, and then reverse the colors red and blue on all these vertices. The result is still a valid four-coloring, and "v" can now be added back and colored red.


title: Four color theorem

text: This leaves only the case where "G" has a vertex of degree 5; but Kempe's argument was flawed for this case. Heawood noticed Kempe's mistake and also observed that if one was satisfied with proving only five colors are needed, one could run through the above argument (changing only that the minimal counterexample requires 6 colors) and use Kempe chains in the degree 5 situation to prove the five color theorem.


title: Four color theorem

text: In any case, to deal with this degree 5 vertex case requires a more complicated notion than removing a vertex. Rather the form of the argument is generalized to considering "configurations", which are connected subgraphs of "G" with the degree of each vertex (in G) specified. For example, the case described in degree 4 vertex situation is the configuration consisting of a single vertex labelled as having degree 4 in "G". As above, it suffices to demonstrate that if the configuration is removed and the remaining graph four-colored, then the coloring can be modified in such a way that when the configuration is re-added, the four-coloring can be extended to it as well. A configuration for which this is possible is called a "reducible configuration". If at least one of a set of configurations must occur somewhere in G, that set is called "unavoidable". The argument above began by giving an unavoidable set of five configurations (a single vertex with degree 1, a single vertex with degree 2, ..., a single vertex with degree 5) and then proceeded to show that the first 4 are reducible; to exhibit an unavoidable set of configurations where every configuration in the set is reducible would prove the theorem.


title: Four color theorem

text: Because "G" is triangular, the degree of each vertex in a configuration is known, and all edges internal to the configuration are known, the number of vertices in "G" adjacent to a given configuration is fixed, and they are joined in a cycle. These vertices form the "ring" of the configuration; a configuration with "k" vertices in its ring is a "k"-ring configuration, and the configuration together with its ring is called the "ringed configuration". As in the simple cases above, one may enumerate all distinct four-colorings of the ring; any coloring that can be extended without modification to a coloring of the configuration is called "initially good". For example, the single-vertex configuration above with 3 or less neighbors were initially good. In general, the surrounding graph must be systematically recolored to turn the ring's coloring into a good one, as was done in the case above where there were 4 neighbors; for a general configuration with a larger ring, this requires more complex techniques. Because of the large number of distinct four-colorings of the ring, this is the primary step requiring computer assistance.


title: Four color theorem

text: Finally, it remains to identify an unavoidable set of configurations amenable to reduction by this procedure. The primary method used to discover such a set is the method of discharging. The intuitive idea underlying discharging is to consider the planar graph as an electrical network. Initially positive and negative "electrical charge" is distributed amongst the vertices so that the total is positive.


title: Four color theorem

text: Each vertex is assigned an initial charge of 6-deg("v"). Then one "flows" the charge by systematically redistributing the charge from a vertex to its neighboring vertices according to a set of rules, the "discharging procedure". Since charge is preserved, some vertices still have positive charge. The rules restrict the possibilities for configurations of positively charged vertices, so enumerating all such possible configurations gives an unavoidable set.


title: Four color theorem

text: As long as some member of the unavoidable set is not reducible, the discharging procedure is modified to eliminate it (while introducing other configurations). Appel and Haken's final discharging procedure was extremely complex and, together with a description of the resulting unavoidable configuration set, filled a 400-page volume, but the configurations it generated could be checked mechanically to be reducible. Verifying the volume describing the unavoidable configuration set itself was done by peer review over a period of several years.


title: Four color theorem

text: A technical detail not discussed here but required to complete the proof is "immersion reducibility".


title: Four color theorem

text: The four color theorem has been notorious for attracting a large number of false proofs and disproofs in its long history. At first, "The New York Times" refused, as a matter of policy, to report on the Appel–Haken proof, fearing that the proof would be shown false like the ones before it . Some alleged proofs, like Kempe's and Tait's mentioned above, stood under public scrutiny for over a decade before they were refuted. But many more, authored by amateurs, were never published at all.


title: Four color theorem

text: Generally, the simplest, though invalid, counterexamples attempt to create one region which touches all other regions. This forces the remaining regions to be colored with only three colors. Because the four color theorem is true, this is always possible; however, because the person drawing the map is focused on the one large region, they fail to notice that the remaining regions can in fact be colored with three colors.


title: Four color theorem

text: This trick can be generalized: there are many maps where if the colors of some regions are selected beforehand, it becomes impossible to color the remaining regions without exceeding four colors. A casual verifier of the counterexample may not think to change the colors of these regions, so that the counterexample will appear as though it is valid.


title: Four color theorem

text: Perhaps one effect underlying this common misconception is the fact that the color restriction is not transitive: a region only has to be colored differently from regions it touches directly, not regions touching regions that it touches. If this were the restriction, planar graphs would require arbitrarily large numbers of colors.


title: Four color theorem

text: Other false disproofs violate the assumptions of the theorem, such as using a region that consists of multiple disconnected parts, or disallowing regions of the same color from touching at a point.


title: Four color theorem

text: While every planar map can be colored with four colors, it is NP-complete in complexity to decide whether an arbitrary planar map can be colored with just three colors.


title: Four color theorem

text: A cubic map can be colored with only three colors if and only if each interior region has an even number of neighboring regions. In the US states map example, landlocked Missouri (MO) has eight neighbors (an even number): it must be differently colored from all of them, but the neighbors can alternate colors, thus this part of the map needs only three colors. However, landlocked Nevada (NV) has five neighbors (an odd number): one of the neighbors must be differently colored from it and all the others, thus four colors are needed here.


title: Four color theorem

text: The four color theorem applies not only to finite planar graphs, but also to infinite graphs that can be drawn without crossings in the plane, and even more generally to infinite graphs (possibly with an uncountable number of vertices) for which every finite subgraph is planar. To prove this, one can combine a proof of the theorem for finite planar graphs with the De Bruijn–Erdős theorem stating that, if every finite subgraph of an infinite graph is "k"-colorable, then the whole graph is also "k"-colorable . This can also be seen as an immediate consequence of Kurt Gödel's compactness theorem for first-order logic, simply by expressing the colorability of an infinite graph with a set of logical formulae.


title: Four color theorem

text: One can also consider the coloring problem on surfaces other than the plane. The problem on the sphere or cylinder is equivalent to that on the plane. For closed (orientable or non-orientable) surfaces with positive genus, the maximum number "p" of colors needed depends on the surface's Euler characteristic χ according to the formula


title: Four color theorem

text: Alternatively, for an orientable surface the formula can be given in terms of the genus of a surface, "g":


title: Four color theorem

text: This formula, the Heawood conjecture, was proposed by P. J. Heawood in 1890 and, after contributions by several people, proved by Gerhard Ringel and J. W. T. Youngs in 1968. The only exception to the formula is the Klein bottle, which has Euler characteristic 0 (hence the formula gives p = 7) but requires only 6 colors, as shown by Philip Franklin in 1934.


title: Four color theorem

text: For example, the torus has Euler characteristic χ = 0 (and genus "g" = 1) and thus "p" = 7, so no more than 7 colors are required to color any map on a torus. This upper bound of 7 is sharp: certain toroidal polyhedra such as the Szilassi polyhedron require seven colors.


title: Four color theorem

text: A Möbius strip requires six colors as do 1-planar graphs (graphs drawn with at most one simple crossing per edge) . If both the vertices and the faces of a planar graph are colored, in such a way that no two adjacent vertices, faces, or vertex-face pair have the same color, then again at most six colors are needed .


title: Four color theorem

text: There is no obvious extension of the coloring result to three-dimensional solid regions. By using a set of "n" flexible rods, one can arrange that every rod touches every other rod. The set would then require "n" colors, or "n"+1 including the empty space that also touches every rod. The number "n" can be taken to be any integer, as large as desired. Such examples were known to Fredrick Guthrie in 1880 . Even for axis-parallel cuboids (considered to be adjacent when two cuboids share a two-dimensional boundary area) an unbounded number of colors may be necessary (; ).


title: Four color theorem

text: Dror Bar-Natan gave a statement concerning Lie algebras and Vassiliev invariants which is equivalent to the four color theorem.


title: Four color theorem

text: Despite the motivation from coloring political maps of countries, the theorem is not of particular interest to cartographers. According to an article by the math historian Kenneth May, "Maps utilizing only four colors are rare, and those that do usually require only three. Books on cartography and the history of mapmaking do not mention the four-color property" . The theorem also does not guarantee the usual cartographic requirement that non-contiguous regions of the same country (such as the exclave Alaska and the rest of the United States) be colored identically.


title: Future Man (TV series)

text: Future Man is an American comedy streaming television series created by Howard Overman, Kyle Hunter and Ariel Shaffir that premiered on November 14, 2017 on Hulu. The series follows an underachieving janitor who is called upon to save the world. It stars Josh Hutcherson, Eliza Coupe, Derek Wilson, Ed Begley Jr., Glenne Headly, Seth Rogen and Haley Joel Osment in recurring roles and is executive produced by Seth Rogen and Evan Goldberg. A third and final season was released on April 3, 2020.


title: Future Man (TV series)

text: A janitor, Josh Futturman, successfully completes his favorite video game (that was considered unbeatable), "Biotic Wars", when suddenly the game's two main characters, Tiger and Wolf, appear and recruit Josh to save the world from the real Biotic Wars. Josh and his companions travel through time to change the future.


title: Future Man (TV series)

text: On September 9, 2016, it was announced that Hulu had ordered the production to series after reviewing the recently produced pilot. The series order was reported to be for a first season consisting of thirteen episodes. The pilot was written by Ariel Shaffir and Kyle Hunter from a story by the duo and Howard Overman and was directed by Seth Rogen and Evan Goldberg. The series' executive producers include Shaffir, Hunter, Rogen, Goldberg and James Weaver. On January 8, 2018, it was announced that Hulu had renewed the series for a second season consisting of thirteen episodes. On October 1, 2018, it was announced that the second season would premiere on January 11, 2019. On April 9, 2019, it was reported that Hulu renewed the series for a third and final season which premiered on April 3, 2020.


title: Future Man (TV series)

text: On February 17, 2016, it was announced that Josh Hutcherson had been cast in the television pilot's lead role. A week later, it was reported that Eliza Coupe had also been cast in a main role. On March 7, 2016, it was announced that Glenne Headly and Ed Begley Jr. had joined the main cast as Hutcherson's character's parents. On May 2, 2016, Derek Wilson joined the production in a main role. In April 2017, it was reported that Patrick Carlyle and Robert Craighead had been cast in recurring roles.


title: Future Man (TV series)

text: On June 28, 2018, it was announced that Shaun Brown had joined the cast in a recurring capacity. On July 17, 2018, it was reported that Sara Amini and Rati Gupta had been cast in recurring roles. In August 2018, it was announced that Tim Johnson Jr., Jade Catta-Preta and Timothy Hornor had also been cast in recurring roles.


title: Future Man (TV series)

text: On June 8, 2017, cast member Glenne Headly died after she filmed five episodes of the planned 13-episode season order. Producers stated that she would not be recast and that the episodes she filmed will air, leaving the writers with the need to rework the episodes she was due to feature in.


title: Future Man (TV series)

text: In the US "Future Man" streams on Hulu. As of 2022, "Future Man" is available to stream on Disney+ internationally in selected territories via the Star hub. It streams there as part of the 2021 Disney/Sony deal which covers shows from Sony Pictures Television.


title: Future Man (TV series)

text: On Rotten Tomatoes, season 1 has an approval rating of 82% based on 39 reviews, with an average rating of 7.08 out of 10. The website's critical consensus reads, ""Future Man"s nostalgia-driven premise is elevated by the cast's compelling chemistry and a sense of humor just dumb enough to lighten the sci-fi load." On Metacritic season 1 has a weighted average score of 70 out of 100 based on reviews from 20 critics, indicating "generally favorable reviews".


title: Future Man (TV series)

text: Alex McLevy of "The A.V. Club" praises the committed performances, the "gleefully ludicrous nonsense", and that "If it figures out the proper tone and blend of stupid-smart jokes with its game cast, the series could potentially travel forward to a time when it becomes a great sci-fi comedy."


title: Future Man (TV series)

text: On Rotten Tomatoes, season 2 has an approval rating of 100% based on 9 reviews, with an average rating of 8.03 out of 10.


title: Future Man (TV series)

text: Adam Chitwood of Collider.com wrote: "Future Man's strength as a series has been the writers' willingness to take the sci-fi seriously, and indeed there are times when you almost want the joke to be done so you can find out what happens next in the story."


title: Future Man (TV series)

text: Alex McLevy of "The A.V. Club" wrote: "Future Man finds a decent denouement to close out its triptych of seasons, and those who enjoyed past installments won’t be let down by this one. If only all that traveling through space and time could have found a more richly developed series."


title: Future Man (TV series)

text: Adam Chitwood of Collider.com called it "A little disappointing but not inessential" and that although it will not convince those who never got into the show to check it out, it should satisfy fans of the series.


title: Jean Shrimpton

text: Jean Rosemary Shrimpton (born 7 November 1942) is an English model and actress. She was an icon of Swinging London and is considered to be one of the world's first supermodels.


title: Jean Shrimpton

text: She appeared on numerous magazine covers including "Vogue," "Harper's Bazaar," "Vanity Fair," "Glamour," "Elle," "Ladies' Home Journal," "Newsweek," and "Time". In 2009, "Harper's Bazaar" named Shrimpton one of the 26 best models of all time, and in 2012, "Time" named her one of the 100 most influential fashion icons of all time. She starred alongside Paul Jones in the film "Privilege" (1967).


title: Jean Shrimpton

text: She was born in High Wycombe, Buckinghamshire, and educated at St Bernard's Convent School, Slough. She enrolled at Langham Secretarial College in London at age 17. A chance meeting with director Cy Endfield led to an unsuccessful meeting with the producer of his film "Mysterious Island" (1961). Endfield then suggested she attend the Lucie Clayton Charm Academy's model course. In 1960, aged 17, she began modelling, appearing on the covers of magazines such as "Harper's Bazaar", "Vanity Fair", and "Vogue".


title: Jean Shrimpton

text: Shrimpton rose to prominence through her work with photographer David Bailey. They met in 1960 at a photo shoot that Shrimpton, who was then an unknown model, was working on with photographer Brian Duffy for a Kellogg's corn flakes advertisement. Duffy told Bailey she was too posh for him, but Bailey was undeterred.


title: Jean Shrimpton

text: Shrimpton's first photo session with Bailey was in 1960 (either for Condé Nast's "Brides" on 7 December 1960 or for British "Vogue"). She started to become known in the modelling world around the time she was working with Bailey. Shrimpton has stated she owed Bailey her career, and he is often credited for discovering her and being influential in her career. In turn, she was Bailey's muse, and his photographs of her helped him rise to prominence in his early career.


title: Jean Shrimpton

text: During her career, Shrimpton was widely reported to be the "world's highest paid model", the "most famous model" and the "most photographed in the world". She was also described as having the "world's most beautiful face" and as "the most beautiful girl in the world". She was dubbed "The It Girl", "The Face", "The Face of the Moment", and "The Face of the '60s". "Glamour" named her "Model of The Year" in June 1963. She contrasted with the aristocratic-looking models of the 1950s by representing the coltish, gamine look of the youthquake movement in 1960s Swinging London, and she was reported as "the symbol of Swinging London". Breaking the popular mould of voluptuous figures with her long legs and slim figure, she was nicknamed "The Shrimp". Shrimpton was also known for her long hair with a fringe, wide doe-eyes, long wispy eyelashes, arched brows, and pouty lips.


title: Jean Shrimpton

text: Shrimpton helped launch the miniskirt. In 1965, she made a two-week promotional visit to Australia, sponsored by the Victoria Racing Club and a local synthetic fibre company who had her promote a range of new dresses made of Orlon. She was paid a fee of £2,000, an enormous sum at the time. She caused a sensation in Melbourne when she arrived for the Victoria Derby wearing a white shift dress made by Colin Rolfe which ended above her knees. She wore no hat, stockings or gloves, and sported a man's watch, unusual at the time. Her hairdresser was Lillian Frank. Shrimpton was unaware she would cause such reaction in the Melbourne community and media.


title: Jean Shrimpton

text: In her article "The Man in the Bill Blass Suit", Nora Ephron wrote that when Shrimpton posed for a Revlon advertisement in an antique white Chantilly lace dress by Blass, minutes after the lipstick placard was displayed at the drugstores, Revlon received calls from women demanding to know where they could buy the dress.


title: Jean Shrimpton

text: Shrimpton and Bailey began dating soon after they began working together, and subsequently had a four-year relationship that ended in 1964. Bailey was still married to his first wife Rosemary Bramble when the affair began, but left her after nine months and later divorced her to be with Shrimpton.


title: Jean Shrimpton

text: Shrimpton's other most celebrated romance was with actor Terence Stamp. In 1979, she married photographer Michael Cox at the register office in Penzance, Cornwall, when she was four months pregnant with their son Thaddeus, who was born that same year. They own the Abbey Hotel in Penzance, now managed by Thaddeus and his family.


title: Jean Shrimpton

text: Shrimpton is namechecked (as "Jeannie Shrimpton") in The Smithereens song "Behind the Wall of Sleep" (1986).


title: Jean Shrimpton

text: The story of Shrimpton's relationship with David Bailey is dramatised in a BBC Four film, "We'll Take Manhattan" (26 January 2012), with Karen Gillan playing the part of Shrimpton.


title: Ainu language

text: Ainu (, ), or more precisely Hokkaido Ainu, is a language spoken by a few elderly members of the Ainu people on the northern Japanese island of Hokkaido. It is a member of the Ainu language family, itself considered a language family isolate with no academic consensus of origin. It is classified as Critically Endangered by the UNESCO Atlas of the World's Languages in Danger.


title: Ainu language

text: Until the 20th century, the Ainu languages – Hokkaido Ainu and the now-extinct Kuril Ainu and Sakhalin Ainu – were spoken throughout Hokkaido, the southern half of the island of Sakhalin and by small numbers of people in the Kuril Islands. Due to the colonization policy employed by the Japanese government, the number of Hokkaido Ainu speakers decreased through the 20th century, and it is now moribund. A very few elderly people still speak the language fluently, though attempts are being made to revive it.


title: Ainu language

text: According to P. Elmer, the Ainu languages are a contact language, having strong influences from various Japonic dialects/languages during different stages of their development, suggesting early and intensive contact between the languages somewhere in the Tōhoku region, with Ainu borrowing a large amount of vocabulary and typological characteristics from early Japonic.


title: Ainu language

text: According to UNESCO, Ainu is an endangered language, with few native speakers amongst the country's approximately 30,000 Ainu people, a number that may be higher due to a potentially low rate of self-identification as Ainu within the country's ethnic Ainu population. Knowledge of the language, which has been endangered since before the 1960s, has declined steadily since; , just 304 people within Japan were reported to understand the Ainu language to some extent. , "Ethnologue" has listed Ainu as class 8b, "nearly extinct".


title: Ainu language

text: A survey of the Ainu people's life was done by the Hokkaido government in 2017, and about 671 people participated in it. The participants were those who were believed to be descendants of Ainu or who joined Ainu families by marriage or adoption. The topic of the survey included the Ainu language, and in regard to fluency, 0.7% of participants answered that they would "be able to have a conversation" in the Ainu language, 3.4％ answered that they would "be able to have a conversation a little," 44.6％ answered they would "not be able to have a conversation but have a little knowledge of the Ainu language," and 48.1％ answered that they would "not be able to have a conversation or understand the language by listening".<ref name="https://www.pref.hokkaido.lg.jp/ks/ass/new_jittai.html"></ref>


title: Ainu language

text: The survey was done in 2006 and 2013 as well, and by comparing those with the 2017 survey, notable trends were observed: the percentage of people who answered they would "be able to have a conversation in the Ainu language" declined in the age 60s group (2.3% in 2006, 1.9% in 2013, and 0.4% in 2017), but increased in the age 30s group (0% in 2006, 0% in 2013, and 2.3% in 2017). However, there was little change overall (0.7% in 2006, 0.9% in 2013, and 0.7% in 2017).


title: Ainu language

text: The Japanese government made a decision to recognize Ainu as an indigenous language in June 2008. , the Japanese government is constructing a facility dedicated to preserving Ainu culture, including the language. This facility is called Upopoy, which is the first National Ainu museum that opened in Shiraoi, Hokkaido in July 2020. Upopoy is dedicated to promoting Ainu culture and language learning.


title: Ainu language

text: Ainu syllables are CV(C); they have an obligatory syllable onset consisting of one consonant and one vowel, and an optional syllable coda consisting of a consonant. There are few consonant clusters.


title: Ainu language

text: Plosives may be voiced between vowels and after nasals. Both and are realized as , and becomes before and at the end of syllables. A glottal stop is often inserted at the beginning of words, before an accented vowel, but is non-phonemic.


title: Ainu language

text: The Ainu language also has a pitch accent system. Generally, words containing affixes have a high pitch on a syllable in the stem. This will typically fall on the first syllable if that is long (has a final consonant or a diphthong), and will otherwise fall on the second syllable, though there are exceptions to this generalization.


title: Ainu language

text: Ainu has a canonical word order of subject, object, verb, and uses postpositions rather than prepositions. Nouns can cluster to modify one another; the head comes at the end. Verbs, which are inherently either transitive or intransitive, accept various derivational affixes. Ainu does not have grammatical gender. Plurals are indicated by a suffix.


title: Ainu language

text: Classical Ainu, the language of the , is polysynthetic, with incorporation of nouns and adverbs; this is greatly reduced in the modern colloquial language.


title: Ainu language

text: Applicatives may be used in Ainu to place nouns in dative, instrumental, comitative, locative, allative, or ablative roles. Besides freestanding nouns, these roles may be assigned to incorporated nouns, and such use of applicatives is in fact mandatory for incorporating oblique nouns. Like incorporation, applicatives have grown less common in the modern language.


title: Ainu language

text: Ainu has a system of verbal affixes (shown below) which mark agreement for person and case. The specific cases that are marked differ by person, with nominative–accusative marking for the first person singular, tripartite marking for the first person plural and indefinite (or 'fourth') person, and direct or 'neutral' marking for the second singular and plural, and third persons (i.e. the affixes do not differ by case).


title: Ainu language

text: The Ainu language is written in a modified version of the Japanese katakana syllabary, although it is possible for Japanese loan words and names to be written in kanji (for example, "mobile phone" can be written or ). There is also a Latin-based alphabet in use. The "Ainu Times" publishes in both. In the Latin orthography, is spelled "c" and is spelled "y"; the glottal stop, , which only occurs initially before accented vowels, is not written. Other phonemes use the same character as the IPA transcription given above. An equals sign (=) is used to mark morpheme boundaries, such as after a prefix. Its pitch accent is denoted by acute accent in Latin script (e.g., "á"). This is usually not denoted in katakana.


title: Ainu language

text: Rev. John Batchelor was an English missionary who lived among the Ainu, studied them and published many works on the Ainu language. Batchelor wrote extensively, both works about the Ainu language and works in Ainu itself. He was the first to write in Ainu and use a writing system for it. Batchelor's translations of various books of the Bible were published from 1887, and his "New Testament" translation was published in Yokohama in 1897 by a joint committee of the British and Foreign Bible Society, the American Bible Society, and the National Bible Society of Scotland. Other books written in Ainu include dictionaries, a grammar, and books on Ainu culture and language.


title: Ainu language

text: A Unicode standard exists for a set of extended katakana (Katakana Phonetic Extensions) for transliterating the Ainu language and other languages written with katakana. These characters are used to write final consonants and sounds that cannot be expressed using conventional katakana. The extended katakana are based on regular katakana and either are smaller in size or have a handakuten. As few fonts yet support these extensions, workarounds exist for many of the characters, such as using a smaller font with the regular katakana to produce ク to represent the separate small katakana glyph used as in ().


title: Ainu language

text: This is a list of special katakana used in transcribing the Ainu language. Most of the characters are of the extended set of katakana, though a few have been used historically in Japanese, and thus are part of the main set of katakana. A number of previously proposed characters have not been added to Unicode as they can be represented as a sequence of two existing codepoints.


title: Ainu language

text: Final is spelled "y" in Latin, small ィ in katakana. Final is spelled "w" in Latin, small ゥ in katakana. Large イ and ウ are used if there is a morpheme boundary with イ and ウ at the morpheme head. is spelled "ae", アエ or アェ.


title: Ainu language

text: Since the above rule is used systematically, some katakana combinations have different sounds from conventional Japanese.


title: Ainu language

text: The Ainu have a rich oral tradition of hero-sagas called , which retain a number of grammatical and lexical archaisms. were memorized and told at get-togethers and ceremonies that often lasted hours or even days. The Ainu also have another form of narrative often used called , which was used in the same contexts.