title: John Prescott

text: On 8 May 2009, "The Daily Telegraph" began publishing leaked details of MPs' expenses. "The Telegraph" reported that Prescott had claimed £312 for fitting mock Tudor beams to his constituency home, and for two new toilet seats in as many years. Prescott responded by saying, "Every expense was within the rules of the House of Commons on claiming expenses at the time".


title: John Prescott

text: On 16 May 2001, when arriving for a rally in Rhyl, Prescott was assaulted by a pro-hunting advocate throwing an egg at him. Prescott retaliated by punching the protester. A momentary ensuing scuffle was broken up by police and bystanders. This earned Prescott the nickname "Two Jabs".


title: John Prescott

text: Prescott gained a reputation in the British press for confused speech, mangled syntax and poor grammar. "The Guardian" columnist Simon Hoggart once commented: "Every time Prescott opens his mouth, it's like someone has flipped open his head and stuck in an egg whisk." An oft-quoted but unverified story in Jeremy Paxman's "The Political Animal" is that, before being accepted as transcribers to the Parliamentary record "Hansard", applicants must listen to one of Prescott's speeches and write down what they think he was trying to say. However Liz Davies wrote that on the Labour National Executive Committee Prescott "spoke in clear, concise sentences and his point was always understandable. Contrary to his television and parliamentary image, he appears to choose his words with care."


title: John Prescott

text: The media have attached various sobriquets to Prescott during his political career. Originally, Prescott's nickname was "Prezza", but as various misfortunes befell him the sobriquets became more colourful, leading to "Two Jags", which set the template for later nicknames. Prescott owns one Jaguar, and had the use of another as his official ministerial car. A later version of this term was "Two Jabs", following his retaliation against a protester farmer in 2001, and "Two Shacks", referring to his former country house. When he lost his department in a cabinet reshuffle following exposure of his affair, newspapers dubbed him "Two Shags" and "No Jobs". Banned from driving after being convicted of speeding in 1991, Prescott was banned again after a similar conviction in June 2015. This led to him being nicknamed "Two bans".


title: John Prescott

text: Prescott has been involved in a number of incidents that have caused widespread media interest. During the 2001 election campaign, Prescott was campaigning in Rhyl, Denbighshire, when one Craig Evans threw an egg at him. Prescott, a former amateur boxer, responded immediately with a straight left to the jaw. The incident, overshadowing the launch of the Labour Party manifesto on that day, was captured by television cameras. Tony Blair responded by stating: "John is John". A National Opinion Polls (NOP) survey found that the incident did no public harm to Prescott, and may even have benefited his standing amongst male voters. Speaking on "Top Gear", Prescott stated: "I was against fox-hunting, and he thought I was one of the guys he hated because I wanted to keep fox-hunting". He elaborated


title: John Prescott

text: Prescott and Pauline Tilston married in 1961. They have two sons. The elder, Johnathan Prescott, is a businessman. Their younger son, David Prescott, is active in Labour Party politics and works in the office of former party leader Jeremy Corbyn; he failed to be selected for his father's parliamentary seat in Hull but was the Labour candidate for Gainsborough in 2015. Pauline had a son by an American airman in the 1950s, whom she gave up for adoption.


title: John Prescott

text: Prescott was diagnosed with diabetes in 1990, although this was not publicly disclosed until 2002. On 2 June 2007 he was admitted to hospital after being taken ill on a train from his constituency in Hull to London King's Cross. He was later diagnosed with pneumonia and was treated at University College Hospital, London. He was moved to a high-dependency ward on 5 June 2007 so he could be monitored more closely because of his age and the fact he suffers from diabetes. On 6 June 2007 it was reported in the media that his condition was stable and that he was sitting up and "joking" with hospital staff. He was subsequently released from hospital on 10 June 2007 to continue his recovery at home.


title: John Prescott

text: In April 2008, Prescott recounted having suffered from the eating disorder bulimia nervosa, which he believed was brought on by stress, from the 1980s until 2007.


title: John Prescott

text: Prescott was admitted to Hull Royal Infirmary on 21 June 2019 after suffering a stroke. He subsequently returned to his duties.


title: M10 tank destroyer

text: The M10 tank destroyer was an American tank destroyer of World War II. After US entry into World War II and the formation of the Tank Destroyer Force, a suitable vehicle was needed to equip the new battalions. By November 1941, the Army requested a vehicle with a gun in a fully rotating turret after other interim models were criticized for being too poorly designed. The prototype of the M10 was conceived in early 1942 and delivered in April that year. After appropriate changes to the hull and turret were made, the modified version was selected for production in June 1942 as the 3-inch Gun Motor Carriage M10 (or M10 GMC). It mounted a 3-inch (76.2 mm) gun M7 in a rotating turret on a modified M4 Sherman tank (the M4A2 production variant) chassis. An alternate model, the M10A1, which used the M4A3 variant chassis, was also produced. Production of the two models ran from September 1942 to December 1943 and October 1942 to November 1943, respectively.


title: M10 tank destroyer

text: The M10 was numerically the most important U.S. tank destroyer of World War II. It combined thin but sloped armor with the M4's reliable drivetrain and a reasonably potent anti-tank gun mounted in an open-topped turret. Despite its obsolescence in the face of newer German tanks like the Panther and the introduction of more powerful and better-designed types as replacements, the M10 remained in service until the end of the war. During World War II, the primary user of the M10 tank destroyer was the United States, but many were Lend-Leased to the United Kingdom, Canada and Free French forces. Several dozen were also sent to the Soviet Union. Post-war, the M10 was given as military surplus to several countries, such as Belgium, Denmark, and the Netherlands, through the Mutual Defense Assistance Act or acquired through other means by countries like Israel and the Republic of China.


title: M10 tank destroyer

text: The M10 is often referred to by the nickname "Wolverine", an unofficial name that sometimes appeared in wartime Chrysler advertising, but that was not used by U.S. troops; the M10 was never officially assigned a nickname or referred to with one when used by American soldiers, who simply called it a "TD" (a nickname for any tank destroyer in general) beyond its formal designation.


title: M10 tank destroyer

text: U.S. combined arms doctrine on the eve of World War II held that tanks should be designed to fulfill the role of forcing a breakthrough into enemy rear areas. Separate GHQ tank battalions would support infantry in destroying fixed enemy defenses, and armored divisions would then exploit the breakthrough to rush into the enemy's vulnerable rear areas. U.S. tanks were expected to fight any hostile tanks they encountered in their attack, but the mission of destroying massed enemy armored thrusts was assigned to a new branch, the Tank Destroyer Force developed in 1941. Tank destroyer units were meant to counter German blitzkrieg tactics. Rather than rely on a "thin cordon" of anti-tank guns which would be defeated by a concentrated attack, the tank destroyer units were to be held as a reserve behind the battleline (at the corps or army level), and were to move quickly to the site of any massed enemy tank breakthrough They would maneuver aggressively and using ambush tactics to destroy enemy tanks; charging or chasing enemy tanks was explicitly prohibited. This led to a requirement for very fast, well-armed vehicles. Though equipped with turrets (unlike most self-propelled anti-tank guns of the day), the typical American design was more heavily gunned, but more lightly armored, and thus more maneuverable, than a contemporary tank. The idea was to use speed and agility as a defense, rather than thick armor, to bring a powerful self-propelled gun into action against enemy tanks. Or more precisely, to use speed to deploy ahead of the attacking enemy, take up camouflaged and protected firing positions on their flanks if possible, and then open fire. If unable to destroy the enemy force or to force them to retreat, then mobility would be used to avoid enemy fire until the TDs could withdraw, preferably to move up and deploy for another ambush. Direct combat in the open against tanks was to be avoided whenever possible.


title: M10 tank destroyer

text: After the formation of the Tank Destroyer Tactical and Firing Center at Camp Hood, Texas in November 1941, the Army began testing to standardize on a configuration for the new tank destroyer battalions. The Tank Destroyer board began to examine several hundred Ordnance Department prototype proposals for a tank destroyer mounting a 3-inch gun, initially focusing the most interest on two:


title: M10 tank destroyer

text: Meanwhile, as the final design developments of these two tank destroyers were underway, the Ordnance Department became dissatisfied and by November 1941 had issued an additional specification for a tank destroyer with a 3-inch gun in a rotating turret. Design work began immediately. The 3-inch Gun Motor Carriage T35 combined an early-production M4A2 medium tank hull with the 3-inch gun M7 from the M6 Heavy Tank in a cast, circular, open-topped turret. Using lessons learned from combat reports from the Philippines, the armor on the sides and rear of the upper hull was changed from flat to sloped plates. This new test vehicle was designated the 3-inch Gun Motor Carriage T35E1. Prototypes of these two vehicles were delivered to Aberdeen Proving Ground in April 1942, and the Army selected the T35E1 for further development on 2 May 1942. The side and rear upper hull armor of the T35E1 was thinned from 1 inch (25.4 mm) to 0.75 inches (19 mm) in order to reduce the weight of the vehicle. The staff at Aberdeen Proving Ground was worried that the armor of the T35E1 was too thin, and so bosses for appliqué armor panels were added to the hull sides, glacis, and turret sides. As the cast turret was found to be difficult to manufacture, the design of the turret was changed to a sloped pentagonal shape made of welded armor plate. In June 1942, the modified T35E1 was standardized as the 3-inch Gun Motor Carriage M10. By fall 1943, with its M5 and M9 competitors being eliminated from the design competition and their production contracts cancelled, the M10 was to become the United States' primary tank destroyer of the early war period.


title: M10 tank destroyer

text: As there were fears that the production of M4A2 chassis would be inadequate for M10 production, an alternate design, the 3-inch Gun Motor Carriage M10A1 based on the M4A3 medium tank chassis, was also authorized for production.


title: M10 tank destroyer

text: American tank destroyer doctrine emphasized speed and gun power over armor. As a result, the M10's armor was thin, which made it vulnerable to most German anti-tank weapons. The thickness of the M10's armor ranged from . The lower hull, being modified from that of a standard M4A2 or M4A3 Sherman tank, had armor on the sides and rear, and a floor. The rounded, cast transmission cover was thick. In a departure from its M4 Sherman parent, the M10 lacked the extra -inch floor plate under the driver's and assistant driver's stations that provided them additional protection from mines.


title: M10 tank destroyer

text: The glacis plate was thick, sloped at 55 degrees from the vertical. The sides and rear of the upper hull were thick, sloped at 38 degrees from the vertical. The rear upper hull plate was used for storage of the vehicle's pioneer and maintenance tools: a axe, a crowbar, a mattock handle and head, a double-sided sledgehammer, and a track tensioning wrench. The sides and rear of the upper hull featured angled extensions or covers over the upper run of track. These extensions often got in the way of fitting "duckbill" extended end connectors, used to reduce ground pressure on soft ground, and were often removed, along with the front fenders, by maintenance units. The hull roof plate ranged from thick over the driver's and assistant driver's stations and turret ring, to thick over the engine compartment.


title: M10 tank destroyer

text: The manually rotated turret of the M10 was a pentagonal shape. The sides were sloped 15 degrees inward from the vertical and were thick. The rear of the turret was also 1 inch thick. The partial roof on the front third of the turret opening was thick. The triangular cast gun shield sported the thickest armor on the vehicle, . It was sloped at 45 degrees from the vertical and horizontal.


title: M10 tank destroyer

text: The M10 and M10A1 were mechanically identical except for their power plants. The M10 used the General Motors 6046, a twin engine formed from two Detroit Diesel 6-71 inline engines mated to a single output. The tandem engine produced at 2,100 rpm. One advantage of the GM 6046 was that the engines could be disconnected at will from the output and run independently. If one of the engines was damaged or destroyed, it could be disconnected and the other engine used to move the vehicle. The engine of the M10A1 was the Ford GAA, an 8-cylinder derivative of an ill-fated V-12 aircraft engine project. It produced at 2,600 rpm. When tested side by side in September 1943, the M10A1 was judged to have superior automotive performance to the M10. Even though it produced only slightly less torque, the M10A1's engine was far lighter, and used a common fuel like the rest of the Army's vehicles (gasoline). By the time the test results were released in February 1944, the Army was committed to using the M10 overseas. As a result, the M10A1 was kept in the United States for training.


title: M10 tank destroyer

text: The M10 and M10A1 had a crew of five; commander, gunner, loader, driver, and assistant driver. The driver and assistant driver (who also operated the vehicle's radio) were seated in the front hull and provided with periscopes. The unique design of the hull hatches to clear the gun mantlet meant that the driver's view directly to the left side was obstructed. He was provided with a second periscope at the edge of the hull for this purpose. The commander, gunner, and loader were all located in the turret. The commander sat on a folding seat at the right rear. The gunner, on the left side of the gun, normally stood to operate it, but he was also provided with a folding seat. The loader normally stood in the area behind the gun. A third folding seat was provided in the turret for the assistant driver in case he needed to assist the loader for any reason.


title: M10 tank destroyer

text: Unlike the M4 tanks it was based upon, the M10 lacked an auxiliary generator, which forced the crew to run the main engines in order to recharge the vehicle's batteries. The engine noise and smoke could attract enemy fire, especially in close quarters, where the M10 was vulnerable due to its thin armor and open-topped turret. The lack of an auxiliary generator was rectified with the introduction of the M36 tank destroyer.


title: M10 tank destroyer

text: Soon after reaching production, it was realized that the barrel of the 3-inch gun M7 was too heavy, to the point where it prevented traverse of the turret on a slope of more than four degrees. As an attempt to improve the figure to fifteen degrees, the Army ordered that the track grousers and antiaircraft machine gun be stored on the rear of the turret. This did not solve the balance problem, and on 21 December 1942, triangular "quick fix" turret counterweights made of lead, mild steel, or cast iron were authorized. The mild steel parts weighed 2,400 pounds. Meanwhile, a set of wedge-shaped counterweights weighing 3,700 pounds total was designed by Fisher. The wedge-shaped weights began to be added to new vehicles at Fisher on 25 January 1943. By late December 1942, a second lock was added to the turret and a stirrup-shaped gun cradle was added to the rear deck to secure the gun for travel.


title: M10 tank destroyer

text: Since the track grousers could not be stored on the rear of the turret anymore, grouser racks that could be attached to the appliqué armor bosses on the hull were added to vehicles beginning in early April 1943. The M10 initially lacked any provision for indirect fire. In May 1943, an azimuth indicator and gunner's quadrant were added to the M10. The grouser racks and indirect fire equipment were often retrofitted to earlier vehicles. By late June 1943, it was realized that Fisher's initial counterweights were too heavy. Two newly designed counterweights reduced the total weight to 2,500 pounds and better distributed the weight of the gun. They resembled an upside-down "duck bill" shape when viewed from the side. To accommodate the new weights, the design of the upper rear of the turret was changed from sloped inwards to nearly vertical. In July 1943, the appliqué armor bosses on the hull sides and turret were dropped from production. The bosses on the glacis were retained. In late September 1943, a single M10 was tested with an Oilgear hydraulic traversing motor that could traverse the turret even without the counterweights, but this modification was not pursued as the production contracts were reaching their end.


title: M10 tank destroyer

text: Production of 4,993 M10s by the Fisher Body division of General Motors at the Fisher Tank Arsenal in Grand Blanc, Michigan ran from September 1942 through December 1943. Ford Motor Company built 1,038 M10A1s from October 1942 until September 1943. From September to November 1943, Fisher built the remaining 375 M10A1s. Fisher also completed a further 300 M10A1 hulls without turrets in January 1944 for direct conversion to M36 tank destroyers. From January to June 1944, 209 M10A1 vehicles were subsequently converted to M35 Prime Movers by removing the turret and adding the necessary equipment for them to tow the 8-inch Gun M1 and 240 mm Howitzer M1


title: M10 tank destroyer

text: 1,413 M10A1s, including the 300 hulls manufactured in January 1944, and 724 M10s were eventually converted into M36 tank destroyers.


title: M10 tank destroyer

text: The M10 tank destroyer used an M4A2 medium tank chassis (M10A1s used an M4A3 chassis) with an open-topped manually traversed turret mounting the 3-inch gun M7, in the M5 mount. The M7 gun weighed 1,990 pounds. The gunner stood or sat on the left side of the gun, and aimed it using the M51 or M70G telescope. An M12A4 panoramic telescope was also provided on the right side of the turret for indirect fire use. The M10 carried 54 rounds of 3-inch ammunition, 48 of which were stowed in four racks in the sponsons, and 6 rounds in the upper rear of the turret. For combat use, the 3-inch Gun M7 could fire five types of ammunition:


title: M10 tank destroyer

text: The M79 AP shot could penetrate 92 mm of homogeneous armor angled at 30 degrees from the vertical at 1,000 yards. The M62 APCBC/HE-T shell was capable of penetrating 88 mm of homogeneous armor angled 30 degrees from the vertical at 1,000 yards. The rare T4 (M93) HVAP shot that saw action in small numbers beginning in September 1944 was capable of penetrating 135 mm of homogeneous armor angled at 30 degrees from the vertical at 1,000 yards. This shot featured a sub-caliber tungsten carbide penetrator encased within a steel jacket and aluminum body and ballistic "windshield". It was standardized as the M93 in February 1945. By March 1945, about 18,000 rounds of this special ammunition had been delivered to the European Theater, 58 percent of which were 3-inch projectiles. The M42A1 high explosive shell was used for indirect artillery fire or against fortifications and soft targets like infantry in trenches or antitank guns. The M88 hexachloroethane smoke shell was used to create smoke screens, or to flush enemy infantry out of buildings or fortified positions.


title: M10 tank destroyer

text: A .50 caliber (12.7 mm) Browning M2HB machine gun could be mounted on the top rear of the turret for use against enemy infantry and for anti-aircraft use, along with 300 rounds of ammunition stowed in 50-round boxes under the vehicle subfloor. The crew also had their personal weapons for self-defense. A Thompson submachine gun with 460 rounds of ammunition was stowed on brackets in the right rear of the turret for use by the vehicle commander. The other four crew members were armed with M1 carbines, each carrying as much ammunition on their person as they saw fit. An M1903 Springfield rifle with 60 rounds of ammunition was stowed next to the assistant driver, and an adapter for the rifle and ten M9 rifle grenades for use against tanks were stowed under the left front vehicle subfloor. Storage boxes in the turret held five Mk 2 grenade, five M18 smoke grenade, and two thermite grenades.


title: M10 tank destroyer

text: The M10's heavy chassis did not conform to the quickly evolving tank destroyer doctrine of employing very light high-speed vehicles, and starting in the summer of 1944 it began to be supplemented by the fast M18 Hellcat. American tank destroyer doctrine called for tank destroyers to be kept in reserve and rushed forward to counter massed enemy armored attacks. In reality, this was not the case and M10 battalions were attached, often semi-permanently, to infantry and armored divisions to provide additional direct and indirect fire support. Typical missions included providing indirect artillery fire by augmenting divisional artillery units, following and supporting the lead elements of an infantry assault, attacking obstacles such as fortifications and enemy vehicles (including tanks) that hampered the advance of friendly units, and setting up an antitank defense once the objective was secured.


title: M10 tank destroyer

text: The combat debut of the M10 came on 23 March 1943, during the Battle of El Guettar, in the Tunisian campaign part of the larger North African campaign. The M10 was initially successful as its M7 3-inch gun could destroy most German tanks then in service. During the battle, M10s of the 899th Tank Destroyer Battalion and M3 Gun Motor Carriages of the 601st Tank Destroyer Battalion destroyed 30 German tanks, although 20 M3s and 7 M10s were lost. The M10 did not see much anti-tank action for the rest of the North African campaign, and instead was used as mobile fire support.


title: M10 tank destroyer

text: During tank fighting in the Normandy campaign, the M10's 3-inch gun was proven to be ineffective against the thick frontal armor of the German Panther medium tank. On 6 July 1944, Eisenhower's headquarters requested that all M10 battalions be converted to the new M36 as soon as possible. On 10 July 1944, the 899th Tank Destroyer Battalion blunted a German counterattack by the Panzer Lehr Division near Le Dézert and destroyed 12 Panther, one Panzer IV, and one Sturmgeschütz III assault gun in a fierce two-day battle, most of it taking place at ranges of less than . Due to the initial shock of encountering heavy German tanks, further changes were made in the tank destroyer force in late September 1944. American officials requested that of the 52 battalions then committed to the European theater, 20 be converted to the M36, 20 retain the M10 or M18 at the discretion of their commanders, and the 12 towed battalions be re-equipped with the (then-prototype) T5 90 mm towed gun. By October 1944, the improved 90 mm Gun Motor Carriage M36 began to arrive in Europe, and mostly replaced the M10 by the end of the war. The plans to retain any towed battalions at all were canceled after their generally poor performance and high losses in 1944, especially during the Battle of the Bulge.


title: M10 tank destroyer

text: In the Italian campaign, as in northern Europe, the M10s were normally attached to infantry or armored units as infantry support or mobile artillery, more so the latter because of the general lack of German armor in that theater. Many US divisional commanders asked for their M10s to be replaced with fully armored tanks. In the Pacific war, due to the lack of serious Japanese tank opposition, US Army M10s were not used as tank destroyers, but as mobile artillery and infantry support. The M10 proved unpopular in the Pacific due to its open turret, which left it vulnerable to Japanese close-assault antitank tactics.


title: M10 tank destroyer

text: A total of 1,648 M10s were supplied by the United States to the British Army via the Lend-Lease program. British M10s were designated as 3inch Self-propelled Mount M10 (3-in SPM M10). The M10 with the "wedge" counterweight was known as the "3in SPM M10 Mk I" and the M10 with the "duck bill" counterweight was designated the "3in SPM M10 Mk II". 1,017 of the vehicles were up-gunned with the powerful 17-pounder (76.2mm) gun from May 1944 to April 1945. The designation used within the Department of Tank Design for both the 3-inch and 17-pounder versions was "Achilles". The 17-pounder conversions were designated various ways, with a "C" suffix added on to the "M10" designation, or called "17pdr M10". Most of the vehicles converted were the 3in SPM M10 Mk II, as the duck bill counterweight better balanced the heavy gun. The gun mantlet needed modification to accept the barrel. The 17-pounder was of a similar bore to the 3-inch gun M7, but had a longer barrel and used a larger propellant charge giving far superior armor penetrating capabilities. The 17pdr SP was used by the British, Canadian and Polish armies in Italy and northwest Europe. As well as service with British forces in Northwest Europe, they were retained post-war. Those not upgunned were stripped of their turrets and used as artillery tractors.


title: M10 tank destroyer

text: In British service, as self-propelled anti-tank guns, the M10 was operated by regiments of the Royal Artillery. Typically, two batteries had M10s while the other two batteries had the towed 17-pounder gun. One tactical theory was that the two towed batteries would form a gun line, while an M10 battery remained mobile on each flank to drive or lead enemy tanks to the static gun line. In practice, UK batteries were frequently separated in Normandy, M10s being seconded to British tank brigades equipped with Churchill tanks armed with the general purpose 75 mm gun just as were British 17 pounder conversions.


title: M10 tank destroyer

text: The Free French received at least 227 M10s, 155 of them through Lend-Lease. They served first in Italy, then in France and Germany. During the liberation of Paris in August 1944, a single M10 of General Leclerc's 2nd Armored Division named "Siroco" disabled a Panther in the Place de la Concorde from under the Arc de Triomphe on the Place de L'Etoile, at 1800 m. French M10s also saw action on the French-German border around Strasbourg and in southern Germany; the Free French First Army led by General De Lattre received some when they were a part of the Sixth United States Army Group. French M10s were operated along similar lines as US tank destroyer units, although initially with five vehicles per platoon instead of four.


title: M10 tank destroyer

text: Approximately 52 M10s were supplied to the Soviet Union through Lend-Lease. They were used to form two self-propelled artillery regiments (SPA). The first was the 1223rd Self-propelled Artillery Regiment of the 29th Tank Corps, part of the 5th Guards Tank Army. This unit served on the 3rd Belorussian Front in 1944, taking part in summer campaigns in Belorussia, the Baltic, and East Prussia. The 1239th Self-propelled Artillery Regiment was part of the 16th Tank Corps, 2nd Tank Army. It fought in Belorussia and Poland in 1944.


title: M10 tank destroyer

text: In 1944, during the Battle of the Bulge, Operation Greif was a plan developed by the Nazis to infiltrate behind the allies lines. They made various modifications to make approximately ten Panzerkampfwagen 5 "Panther" look as similar as possible to the American M10, known as the Panther M10 or the Ersatz M10 (Ersatz meaning replacement in German).


title: M10 tank destroyer

text: Israel bought M10s from scrapyards and dumping grounds in Europe after 1948. The first batch arrived in 1951, being in very bad shape. Some years later, as the M10's guns were worn out, Israel decided to install 17-pounder guns and also French high-velocity 75 mm CN 75-50 guns that had just been bought. The M10s were repaired and entered service in 1955. After the 1956 war, they received the diesel engines of captured Egyptian Sherman tanks. It is believed that Israel also bought M10s from France and may have captured several from Egypt.


title: M10 tank destroyer

text: There is no report that the modified M10s were used by the Israelis in combat. They were withdrawn from service by 1966.


title: M10 tank destroyer

text: The Egyptian Army had a small number of ex-British M10s, 3-inch and 17-pdr versions, and used them in 1948 against Israel. Israel captured some of them.


title: M10 tank destroyer

text: The M10's open-topped turret left the crew vulnerable to artillery and mortar fire and fragments. The 893rd Tank Destroyer Battalion took many casualties from artillery fire and tree bursts and lost 16 of 24 M10s during the Battle of the Hürtgen Forest. The crew was also exposed to sniper fire and infantry close assault, such as grenades thrown through the open turret, or attacks from upper story-windows, especially in urban warfare and wooded areas. In UK service, one M10 in the 86th Anti-Tank Regiment (XII Corps) in Normandy drove back out of action three times with the turret crew dead. Two turret crews had been killed by 88mm air bursts or mortars exploding in treetops and one crew was killed by a direct hit through the turret. The same driver survived each time. When this driver was placed with a new crew, his fourth, he was declared to be a 'Jonah' (bad luck) and they refused to drive with him. He was transferred to another unit and told to keep quiet about his history.


title: M10 tank destroyer

text: However, the open-topped turret gave excellent visibility, which was valuable for a vehicle that was tasked with finding enemy armored vehicles and other targets. The open top also made escape easier when the vehicle was hit and improved communications with accompanying infantry.


title: M10 tank destroyer

text: The M10 had a very slow turret rotation speed, as the turret traverse was unpowered and the crew had to use a hand crank to rotate the turret. It took approximately 80 seconds to rotate a full 360 degrees.


title: M10 tank destroyer

text: Despite not adhering strictly to the tank destroyer doctrine, the M10 still achieved impressive scores against enemy tanks. A US Army study of 39 tank destroyer battalions found that each destroyed, on average, 34 tanks, 17 towed guns, and 16 pillboxes. The tank destroyer battalions in the Third Army claimed the destruction of 686 tanks and 238 self-propelled guns. The highest-scoring tank destroyer battalion in the European Theater, the 823rd Tank Destroyer Battalion, claimed to have destroyed 113 panzers, including 27 Panthers and 18 Tigers, using towed guns and M10s. The 773rd Tank Destroyer Battalion also claimed to have destroyed 113 panzers, with the 702nd Tank Destroyer Battalion claiming 103. The 601st Tank Destroyer Battalion, which fought in North Africa, Italy, and Europe, claimed to have knocked out 155 tanks and self-propelled guns. Tank destroyers in the European Theater fired approximately 11 high-explosive (HE) rounds for every round of armor-piercing (AP) ammunition, an indication of their use in general support duties in addition to the intended mission of anti-tank defense.


title: Crying in H Mart

text: Crying in H Mart: A Memoir is a 2021 memoir by Michelle Zauner, singer and guitarist of the musical project Japanese Breakfast. It is her debut book, published on April 20, 2021, by Alfred A. Knopf. It is an expansion of Zauner's essay of the same name which was published in "The New Yorker" on August 20, 2018. The title mentions H Mart, a North-American supermarket chain that specializes in Korean and Asian products.


title: Crying in H Mart

text: The memoir received critical acclaim and debuted at number two on "The New York Times" best-seller list for combined print and e-book nonfiction. It spent 50 weeks on the combined list, and 60 weeks on the hardcover nonfiction list.


title: Crying in H Mart

text: After Zauner's mother Chongmi died of pancreatic cancer in October 2014, Zauner frequently made trips to H Mart, an experience she chronicled in her "New Yorker" essay and in "Real Life: Love, Loss and Kimchi" which won "Glamour" Magazine's 11th essay contest.


title: Crying in H Mart

text: Zauner has said that she decided to write a book-length memoir after literary agents contacted her following the publication of her "New Yorker" essay. In February 2019, American publishing house Alfred A. Knopf announced that it had won the rights to the book at auction.


title: Crying in H Mart

text: The book begins with the titular essay in which Zauner talks about buying ingredients for Korean cuisine at H Mart. Zauner reminisces about her mother, Chongmi, calling her strict but loving. Zauner writes that she wanted more family approval yet frequently disobeyed her parents and was considered rebellious.


title: Crying in H Mart

text: Every two years, Zauner and Chongmi travel to Seoul to visit their family. When Zauner is 14, her maternal grandmother dies, leaving Zauner haunted by her last words.


title: Crying in H Mart

text: During high school, Zauner falls into depression, resulting in truancy. Chongmi allows her to sleep once a week at her best friend's house, where she begins to admire her friend's mother, engendering Chongmi's jealousy and straining their relationship. Zauner is inspired to learn guitar after watching a DVD of the Yeah Yeah Yeahs and Karen O, who is also of Korean American heritage. Zauner begins to write songs and perform in public, including opening for Maria Taylor at the W.O.W. Hall. Zauner applies to liberal arts universities for women and attends Bryn Mawr College in Pennsylvania, to Chongmi's disappointment.


title: Crying in H Mart

text: In 2014, Zauner graduated college with a creative writing degree and leads a band named Little Big League. However, the band struggles to find commercial success. That summer, Zauner learns that Chongmi has cancer and flies to Eugene to care for her. Soon after Chongmi returns home, her friend Kye arrives and begins to take care of her.


title: Crying in H Mart

text: In August, Zauner returns to Philadelphia to tour with Little Big League. After the tour, her father Joel reveals that Chongmi's condition is worsening. The three fly to Seoul as per Chongmi's wishes but she is hospitalized upon arrival. After Chongmi recovers, Zauner and Joel transfer her to Riverbend Hospital in Eugene.


title: Crying in H Mart

text: Wanting her mother to attend her wedding, Zauner proposes marriage to her boyfriend Peter, who accepts. Soon after, Zauner and Peter get married with their families and friends attending. After the wedding, Kye leaves after being irritated by Joel. Soon after, Chongmi's condition declines drastically and she dies on October 18, 2014. Joel, Zauner, and Peter host a funeral the next week. Joel and Zauner fly to Vietnam, hoping to soothe their grief but the trip only strains their relationship.


title: Crying in H Mart

text: After moving to Brooklyn with Peter, Zauner begins learning to cook Korean cuisine and records music to cope with her grief. She begins working at an advertising firm in New York City, deciding that she will soon quit recording music due to her lack of success.


title: Crying in H Mart

text: Zauner submits an album to Yellow K Records as Japanese Breakfast, titling it "Psychopomp". Its reception exceeds Zauner's expectations and Japanese Breakfast signs with the record label Dead Oceans. The band tours to promote the album and Zauner quits her advertising job.


title: Crying in H Mart

text: During the band's last tour date in Asia, Zauner's maternal aunt Nami and her husband, whom Zauner nicknamed "Boo", are in attendance. After the concert ends, Zauner and Peter spend time with Nami and Boo. On the night before they depart, Zauner and Peter accompany Nami and Boo to a karaoke bar where Nami asks Zauner to sing "Coffee Hanjan". As the lyrics begin, Zauner hopes that her heritage will help her sing the words.


title: Crying in H Mart

text: The book debuted at number two on "The New York Times" best-seller list for combined print and e-book nonfiction for the week ending April 24, 2021. As of September 2022, the book has spent 50 weeks on the list, and 60 weeks on the hardcover nonfiction best-seller list. The book has thirty "rave" reviews and five "positive" reviews, according to review aggregator website Book Marks.


title: Crying in H Mart

text: "Publishers Weekly" wrote, "The prose is lyrical if at times overwrought, but Zauner does a good job capturing the grief of losing a parent with pathos."


title: Crying in H Mart

text: Kristen Martin of NPR called the book a "rare acknowledgement of the ravages of cancer in a culture obsessed with seeing it as an enemy that can be battled with hope and strength."


title: Crying in H Mart

text: In "The Atlantic", food writer Mayukh Sen wrote, "As lovely as Zauner's indulgent sketches of meals are, they slow her momentum [...] But agile writers know how to mine food for emotional truth, and Zauner finds her footing as "Crying in H Mart" progresses. Near the end, she connects food to her own unmooring."


title: Crying in H Mart

text: On June 7, 2021, it was announced that "Crying in H Mart: A Memoir" would be adapted as a feature film by Orion Pictures. Zauner will adapt the film and provide the film's soundtrack, as Japanese Breakfast. In May 2022, Zauner announced that she finished the first draft of the screenplay.


title: My Universe (song)

text: "My Universe" is an English and Korean song by British rock band Coldplay and South Korean pop group BTS. It was released on 24 September 2021, through Parlophone and Atlantic Records, as the second official single from "Music of the Spheres", Coldplay's ninth studio album. It debuted at number one on the "Billboard" Hot 100, becoming BTS' sixth US chart-topper and Coldplay's second after 2008's "Viva la Vida". The single is also the first track by two co-billed lead groups to top the chart and the first song by a British group to debut at number one in the United States' history.


title: My Universe (song)

text: "My Universe" received positive reviews by music critics. It premiered at number three in the UK Singles Chart, claiming the second-biggest week of the year in downloads, and eventually becoming the most downloaded song of 2021 by a group in the country. The track also reached number one in Hungary, Malaysia and Singapore; the top ten in Australia, Belgium, Canada, India, Ireland, and South Korea; and the top twenty of twelve other countries, including Germany, The Netherlands, Norway, and New Zealand.


title: My Universe (song)

text: The official music video, directed by Dave Meyers, was released on 30 September 2021 and features both groups performing on different futuristic planets (Floris, Calypso, and Supersolis) alongside a fictional band named "Supernova 7" via the "Holoband" technology developed by DJ Lafrique, set in an era where music is banned around the universe.


title: My Universe (song)

text: The title of the song was first announced as part of the track listing release of "Music of the Spheres" in July 2021 without any mention of the song featuring BTS. A snippet of the song was included in a trailer titled "Overtura", also omitting any evidence of the Korean group being involved. On 13 September 2021, the song was revealed to be a collaboration between Coldplay and BTS. The single was announced through a coded message on Coldplay's Alien Radio FM social media account. Following the release of the "Permission to Dance" music video in early July 2021, the groups first collaborated during an episode of the YouTube series "Released", during which they joined a discussion with Coldplay's frontman Chris Martin on what inspired the "#PermissionToDance Challenge". However, speculations about a collaboration between the two groups had already started circulating in February 2021, after BTS covered their 2005 hit song "Fix You" on "MTV Unplugged". On 26 September, the "Inside My Universe" making-of documentary of the song was released, alongside a "Supernova 7" remix and an acoustic version. A third remix, done by Suga of BTS, was released on 18 October. Additional remixes by Galantis and David Guetta were released in November. Following the collaboration, Coldplay also wrote a song with BTS member Jin titled "The Astronaut".


title: My Universe (song)

text: "My Universe" is a synth-pop track, co-written by Martin, Guy Berryman, Jonny Buckland, and Will Champion of Coldplay, as well as BTS members J-Hope, RM, and Suga, as well as Bill Rahko, Oscar Holter, and Max Martin. The lyrics are in both English and Korean. Coldplay originally wrote the song for BTS, but the songwriting process was revised to include the South Korean septet. My Universe is set to a common time signaure, with a moderately fast tempo of 105 beats per minute. It is written in the key of E major, with the BTS vocal range spanning from the note F♯ to the note B.


title: My Universe (song)

text: The upbeat gives the synth-rock of Coldplay and the dance-pop of BTS an EDM twist. Coldplay introduces a loud electro-dance outro just before the song ends. Lyrically, the song discusses choosing love above differences with a line like, "And they said that we can't be together because, because we come from different sides." But in the chorus, they dismiss doubters: "You, you are my universe, and I just want to put you first."


title: My Universe (song)

text: The song debuted at No. 1 on the Billboard Hot 100 chart in the United States with 11.5 million streams, 5.5 million audience impressions from radio airplay, and 127,000 downloads and physical singles combined. It is BTS' fifth song to enter the Hot 100 at the top, making them the group with the most songs to enter at the top spot. BTS, Ariana Grande, and Drake were tied for first place overall among artists that time. "My Universe" is also the first Hot 100 No.1 song to list two groups as the primary artists. After "Viva La Vida" in 2008, this is notable as being Coldplay's second appearance at the top of the Hot 100.


title: My Universe (song)

text: In addition, "My Universe" topped both the Billboard Global 200 and the Billboard Global Excl charts. U.S. charts. Between September 24 and September 30, the song received 95.4 million streaming and 142,400 downloads globally, with 84.4 million streams and 90,500 downloads occurring outside of the United States. It is BTS's fifth No. 1 on the Global Excl. chart and sixth on the Global 200. Coldplay's debut at No.1 on both charts comes in the U.S.The song also debuts at No. 1 on the Digital Song Sales list, making BTS the group with the most consecutive No. 1 songs on the chart with nine. The song debuted at the top of the Hot Rock & Alternative Songs and Hot Alternative Songs charts and peaked at No. 21 on the Streaming Songs list, No. 23, Alternative Airplay, No. 29, Adult Pop Airplay, and No. 33 on Pop Airplay.


title: My Universe (song)

text: "My Universe" was the top new entry for the week of October 1–7 which debuted at No. 3 on the Official Singles Chart. Notably, with a total of 27,000 pure sales, the single was the best-selling of the week in both physical CDs and digital downloads. The song's 21,400 digital downloads gave it the largest week of downloads of any song this year in the UK. On Oricon's weekly digital singles chart, the song debuted at No. 1. The day after it was released, the song debuted on Spotify's Global Top 200 at No. 3.


title: My Universe (song)

text: A space-themed lyric video, featuring animated handwritten lyrics from both bands in English and Korean, was released together with the song on 24 September 2021. Additional visualizers for the instrumental and three remix versions of the track were published in the following days.


title: My Universe (song)

text: A music video directed by Dave Meyers was released on 30 September 2021. Set in the "Spheres" planetary system, where music has been banned by the "Silencers", who appeared in Coldplay's 2011 album "Mylo Xyloto". The video depicts Coldplay, BTS, and the fictional alien band Supernova 7 performing "My Universe" together. Though located on different planets, the three groups are united as holograms through "HOLOBAND" technology controlled by alien DJ Lafrique, who broadcasts their performance throughout the system from her radio ship while being hunted by the Silencers. Coldplay filmed the video at an empty, abandoned municipal swimming pool complex in Rubí, Barcelona, in July 2021. The BTS portion was shot on a green-screen stage at a studio in Seoul, South Korea, two weeks after the Barcelona shoot. The green screen was useful to make the visual effects, such as the groups' holographic versions, and to unite the scenes from both groups.


title: My Universe (song)

text: On 23 September 2021, a day before the song was officially released, Coldplay performed "My Universe" on Pandora's "Small Stage Series" at the Apollo Theater in New York City. Chris Martin performed a short acoustic rendition of the song as a preview during his guest appearance on "The Kelly Clarkson Show", which aired the following day. On 25 September, the band performed the song at the Global Citizen Festival in New York's Central Park, with BTS appearing virtually via a pre-recorded video that played onscreen behind them. Martin also attempted to sing some of BTS' Korean verses. The following month, the band performed the song during their guest appearance on "The Graham Norton Show" on 15 October, at the 2021 Earthshot Prize ceremony at Alexandra Palace in London two days later (in which 60 cyclists pedalling on bikes provided the power for their performance), and as part of their closing set for Audacy's 8th annual We Can Survive charity concert held at the Hollywood Bowl in Los Angeles on 23 October.


title: My Universe (song)

text: Coldplay and BTS performed "My Universe" for the first time together at the 2021 American Music Awards on 21 November at the Microsoft Theater in Los Angeles. On 2 December, Martin joined BTS to perform the song at the latter's Permission to Dance on Stage concert at SoFi Stadium in Inglewood, California.


title: My Universe (song)

text: Rhian Daly from "NME" rated the song four out of five stars and called it "a celestial ode to unity, hope and the power of love". She also mentioned while some might view the track as an unusual pairing, the two acts "makes complete sense" together because "both share a predilection for a poetic and heartfelt approach to their music; as well as being two of the biggest bands in the world, they are also two of modern pop's deepest thinkers, imbuing their lyrics with touching statements on love and life". In 2022, "Rolling Stone" wrote a "100 Best BTS Songs" editorial and ranked "My Universe" as their third-best collaboration and 62nd track overall, adding it was "Coldplay's most pleasingly unburdened moment".


title: Quiz Show (film)

text: Quiz Show is a 1994 American historical mystery-drama film directed and produced by Robert Redford. Dramatizing the "Twenty-One" quiz show scandals of the 1950s, the screenplay by Paul Attanasio adapts the memoirs of Richard N. Goodwin, a U.S. Congressional lawyer who investigated the accusations of game-fixing by show producers. The film chronicles the rise and fall of popular contestant Charles Van Doren after the fixed loss of Herb Stempel and Goodwin's subsequent probe.


title: Quiz Show (film)

text: The film stars John Turturro as Stempel, Rob Morrow as Goodwin, and Ralph Fiennes as Charles Van Doren. Paul Scofield, David Paymer, Hank Azaria, Martin Scorsese, Mira Sorvino, and Christopher McDonald play supporting roles. The real Goodwin and Stempel served as technical advisors to the production.


title: Quiz Show (film)

text: The film received generally positive reviews and was nominated for several awards, including a Best Picture Oscar nomination and several Golden Globe Awards.


title: Quiz Show (film)

text: In 1958, the questions and answers to be used for the latest broadcast of NBC's popular quiz show "Twenty-One" are transported from a secure bank vault to the studio. The evening's main attraction is Queens resident Herb Stempel, the reigning champion, who correctly answers question after question. Eventually, both the network and the program's corporate sponsor, the supplementary tonic Geritol, begin to fear that Stempel's approval ratings are beginning to level out, and decide that the show would benefit from new talent.


title: Quiz Show (film)

text: Producers Dan Enright and Albert Freedman are surprised when Columbia University instructor Charles Van Doren, son of a prominent literary family, visits their office to audition for a different, less difficult show by the same producers, "Tic-Tac-Dough". Realizing that they have found an ideal challenger for Stempel, they offer to ask the same questions during the show which Van Doren correctly answered during his audition. He refuses, but when he comes within reach of a game-winning 21 points on the show, he is asked one of the questions from his audition. After a moment of moral indecision, he gives the correct answer. Stempel deliberately misses an easy question and loses, having been promised a future in television if he does so.


title: Quiz Show (film)

text: In the weeks that follow, Van Doren's winning streak makes him a national celebrity, but he reluctantly buckles under the pressure and allows Enright and Freedman to start giving him the answers. Meanwhile, Stempel, having lost his prize money to an unscrupulous bookie, begins threatening legal action against NBC after weeks go by without his return to television. He visits New York County District Attorney Frank Hogan, who convenes a grand jury to look into his allegations.


title: Quiz Show (film)

text: Richard Goodwin, a young Congressional lawyer, learns that the grand jury findings have been sealed and travels to New York City to investigate rumors of rigged quiz shows. Visiting a number of contestants, including Stempel and Van Doren, he begins to suspect that "Twenty-One" is a fixed operation. Stempel's volatile personality damages his credibility, and nobody else seems willing to confirm that the show is fixed. Fearing Goodwin will give up the investigation, Stempel confesses that he was fed the correct answers during his run on the show, and insists that Van Doren must have been involved as well. Another former contestant gives Goodwin a set of answers that he mailed to himself two days before his quiz show appearance, which Goodwin takes to be corroborating evidence.


title: Quiz Show (film)

text: A guilt-ridden Van Doren deliberately loses, but NBC offers him a lucrative contract to appear as a special correspondent on the morning "Today" show. The House Committee for Legislative Oversight convenes a hearing, at which Goodwin presents his evidence of the quiz show's corruption. Stempel testifies at the hearing but fails to convince the committee, and both NBC network head Robert Kintner and Geritol executive Martin Rittenhome deny any knowledge of "Twenty-One" being rigged. Subpoenaed by Goodwin, Van Doren testifies before the committee and admits his role in the deception. After the hearing adjourns, he learns from reporters that he has been fired from "Today" and that Columbia's board of trustees is going to ask for his resignation.


title: Quiz Show (film)

text: Goodwin believes that he is on the verge of a victory against Geritol and NBC, but realizes that Enright and Freedman will not jeopardize their own futures in television by turning against their bosses. He silently watches the producers' testimony, vindicating the sponsors and the network from any wrongdoing, and taking full responsibility for rigging the show. Disgusted, he steps outside and sees Van Doren, who waves at him before boarding a taxi.


title: Quiz Show (film)

text: Although a majority of "Quiz Show" is accurate to the real-life events its based on, it had enough artistic licenses to stir up controversy and criticism (especially towards character changes) by critics and real-life figures of the scandal.


title: Quiz Show (film)

text: The artistic licenses included telescoping three years of scandal into one, changing the location of Van Doren's first meeting with Goodwin (it was at NBC in real life), altering the start time of Goodwin's investigation (in reality, it was after Van Doren's last game), and making Van Doren's choice of mis-answering a question his own instead of NBC's. "A protracted dance of denial and disclosure is transformed into a fast-paced detective story," categorized Tom Dunkel.


title: Quiz Show (film)

text: The film's magnification of the role "Twenty-One" and its producer, Albert Freedman, had in the scandal was criticized by Jeff Kisslehoff, who wrote "The Box: An Oral History of Television, 1920-1961", and the real-life Freedman; Kisslehoff reasoned that the cheating of contestants on 1950s game shows was brought from the radio era where players were overtly coached. Goodwin also had a lesser importance in the investigation than portrayed in the film; he was involved two years after "Twenty-One" ended syndication, and put the pieces together, whereas collection of information was handled by publications and assistant district attorneys in New York City. Joe Stone, a congressional committee consultant who investigated the scandal for four years, was angered not only by the screenplay's spotlight on Goodwin but also that, as of the film's release, he took most of the credit for uncovering the scandal; Goodwin's wife, Doris Kearns Goodwin, apologized to Stone about the film via telephone.


title: Quiz Show (film)

text: For legal reasons, alterations had to be made to Matthew Rosenhaus, the CEO of the company that owned Geritol, J.B. Williams Co.; his name was changed to Martin Rittenhome, and his personality reflected that of Charles Revson, who was the president of cosmetics brand Revlon that sponsored another quiz show that was a part of the scandal, "The $64,000 Question" (1955–1958). While Stempel's wife Toby is unaware of the hackery behind "Twenty-One" in the film, she and her family knew about it in reality and told him to "take the money and run."


title: Quiz Show (film)

text: Some dramatic liberties involved simplifications, such as with the character of Charles Van Doren, who is a "shallow icon" devoid of the ambiguities his real-world counterpart had, "Chicago Reader" analyzed. In a July 2008 edition of "The New Yorker", Van Doren wrote about the events depicted in the film. He agreed with many of the details. But he also said that he had a regular girlfriend (his future wife) at the time he was on "Twenty-One", and that she was not present in the film depiction. Van Doren also noted that he continued teaching, contrary to the film's epilogue which stated he never returned to doing so.


title: Quiz Show (film)

text: When Robert Redford first saw "Twenty-One" in the late 1950s, he was in his early 20s taking art and acting classes in New York City, the same city in which Rockefeller Center, the show's studio, was located. He recalled when he first saw Charles Van Doren on the show, "Watching him and the other contestants was irresistible. The actor in me looked at the show and felt I was watching other actors. It was too much to believe, but at the same time, I never doubted the show. I hadn't had evidence television could trick us. But the merchant mentality was already taking hold, and as we know now, there's little morality there." The filmmaker described the scandal as "really the first in a series of scandals . . . that have left us numbed, unsure of what or who to believe."


title: Quiz Show (film)

text: There had already been a documentary on the scandal, the Julian Krainin-produced work for a 1992 installment of the PBS series "The American Experience".


title: Quiz Show (film)

text: "Quiz Show" is based on a chapter of the book "Remembering America: A Voice From the Sixties" (1988) by Richard N. Goodwin, who also was one of the film's many producers. Paul Attanasio began writing the screenplay in 1990, who joined immediately for the subject matter's "complex ironies," such as with its main characters. Going through over a dozen drafts over the course of three years, Attanasio wrote the script by watching clips of "Twenty-One", reading old publication articles about the scandal and its people, getting a sense of the 1950s television landscape at the Museum of Broadcasting, and having meetings with Goodwin. Redford researched the topic himself by reading Dan Wakefield's book "New York in the Fifties", and had the author be on set to ask him questions and give him a cameo appearance. Redford personally knew Goodwin since acting in "The Candidate" (1972), and helped Attanasio integrate the investigator's real-life personality.


title: Quiz Show (film)

text: Because the story lacked a protagonist, Attanasio had to work with using a novel-based technique of "shifting points of view" while keeping a through line usual for films, which made writing the screenplay difficult. In depicting the themes of ethnic conflict between White Anglo-Saxon Protestants and Jewish characters, Attanasio borrowed from his experiences of being raised in a family with an Italian background; his relatives were outraged by the stereotypical depiction of Italians as loudmouth gangsters in the media, and, like other Bronx Italians, held negative viewpoints towards Brooklyn Italians. He also used the personality of those he worked with in the film industry, "killers" hiding behind nice attitudes, for incorporating themes of disillusion.


title: Quiz Show (film)

text: Redford first read a rough draft after completing production of "A River Runs Through It" (1992), "looking for something edgier, faster-paced, urban, where I could move the camera more." Barry Levinson's Baltimore Pictures and TriStar Pictures began development of a film project based on the quiz show scandal, which was tough to sell due to its non-commercial style and subject matter; TriStar placed it in turnaround in September 1992, only for it to be moved to Disney. They backed $20 million into the budget and launched it into production in spring 1993 after Redford, whose most recent success was "A River Runs Through It", came on board as director. Although Disney offered Charles Van Doren $100,000 to be a consultant on the film, he declined.


title: Quiz Show (film)

text: Casting took place in New York in May 1993. He originally planned an American actor to play Charles Van Doren, but after auditioning several, including William Baldwin, he couldn't find the "combination of elements" required for the character in any of them and went with the British Ralph Fiennes. For the role, Fiennes not only viewed clips of Van Doren on "Twenty-One" as well as interviews with him, he also went to the real-life Van Doren's Cornwall, Connecticut home; although there never was a full meeting between the two, Fiennes did get a sense of atmosphere of Van Doren's home as well as asked him directions from a distance to get an idea for his voice. An American actor, Paul Newman, was also initially considered for Mark Van Doren, but he declined. Chris O'Donnell was reported in a May 1993 "Variety" article having talks with Redford about appearing in "Quiz Show", although he ultimately wasn't cast.


title: Quiz Show (film)

text: Turturro, who himself had felt like an outsider, had an easy time getting into the character of a Jewish outcast like Stempel; however, he still altered himself to fit the character, gaining 25 pounds and training to mimic Stempel's high-pitched voice. After breaking through by playing the top-billed role in "Northern Exposure" (1990–1995), Morrow was offered several film roles but rejected all of them in looking for the right one to play; this was until he accepted the offer for "Quiz Show": "I knew this was the one. It had the cachet of Bob Redford and was incredibly well-written." In getting the idea of the character of Goodwin, Morrow read four of his books.


title: Quiz Show (film)

text: Levinson was originally attached to the project as director, but because he had to film "Bugsy" (1991), his position was replaced by Redford. However, Levinson was then cast by Redford for the part of Dave Garroway, as Redford liked his "easygoing, casual manner" and interest in 1950s culture. For the scene involving J. Fred Muggs, they had to use a chimp "unnerved by the lights and cameras" as no creatures trained for film production were available. Martin Scorsese was cast by Redford not only for his physical features, but also for "his own personal style and delivery, so I found it interesting to have him play a tough character gently. And given his delivery style, in which he talks real fast, I thought it would make the character extremely menacing."


title: Quiz Show (film)

text: "Quiz Show" is a Faustian tale about the loss of innocence (both for its three main characters and the entire country), temptation with money, moral ambiguity, positive guises hiding otherwise bad-faith actions, the cult of celebrity, the negative side effects of fame, the power and corruption of big business and mass media, the consequences of over-competitiveness in business, racial, ethnic, and class conflict, and the discord between education and entertainment. Attanasio, Redford, and most film critics considered "Quiz Show"s subject matter to be essential, as it marked the beginning of the country's loss of innocence and faith in its trusted institutions that was exacerbated by events like the Vietnam War, the Watergate scandal, and more.


title: Quiz Show (film)

text: Reviews from "TV Guide" and "Newsweek" noted that in the era of the film's release, scandals and culturally-unacceptable behaviors were more expected and less shocking to the American public than they were in the 1950s, when the long-time myth of American innocence dominated the nation; it was to the point where controversial figures were even rewarded, as "Newsweek" claimed: "Neck high in '90s cynicism, it's hard to believe the tremors these scandals provoked. [...] In the '50s, Ingrid Bergman was blacklisted from Hollywood for having a baby out of wedlock. Today, Oliver North makes hash of the Constitution and it jump-starts his political career. What used to ruin your life gets you invited on "Oprah" and a fat book deal. Shame is for losers; public confession and a 12-step program can turn you into a role model."


title: Quiz Show (film)

text: Although "Quiz Show" was ultimately released in September 1994, reports from late 1993 indicated that the film was originally planned to be distributed sometime in the year's first half.


title: Quiz Show (film)

text: With "Quiz Show", Buena Vista Pictures took on a platform release strategy where it garnered buzz by being released in a limited number of theaters before opening wider; one other film released that same non-competitive fall, "The Shawshank Redemption" (1994), was distributed in a similar manner, and both it and "Quiz Show" were box office failures. It opened in New York City on September 14, 1994, and expanded to 27 screens for the weekend, grossing $757,714, the fifth-highest-grossing opening weekend on under 50 screens of all time. It grossed $792,366 in its first 5 days. The film gradually expanded over the next four weeks to a maximum of 822 screens and grossed a total of $24,822,619 in the United States and Canada. 8 million (US/Canada) In the United States, the film continued to drop in performance even after its Academy Award nominations, where it fell 63% in weekly grosses for the week of March 12, 1995.


title: Quiz Show (film)

text: Following its theatrical run, "Quiz Show" ran out-of-competition at international festivals, such as the 1995 Berlin International Film Festival and that same year's China edition of the Sundance Film Festival, which ran from October 5 to 12, 1995. Five weeks prior to the Berlin festival, Redford told Buena Vista he couldn't attend, which was due to the filming of "Up Close and Personal" (1996) and going to the 1995 Sundance Film Festival filling up his schedule; however, according to festival director Moritz de Hadeln, Berlin nonetheless made a deal with the distributor to promote "Quiz Show" with the requirement that Redford be present. His non-attendance resulted in erosion of his relationship with Buena Vista and other film festival organizers, as well as less promotion for the film's international release.


title: Quiz Show (film)

text: In countries internationally, such as in Germany and France, "Quiz Show" generally performed far better in big cities than in smaller towns and had more female attendees than male. In Italy, despite much press and interest in the film's subject matter, it wasn't a commercial success due to motion pictures with even a hint of a negative tone generally not appealing to the country's audiences. The best international performance was in Spain, where it grossed $368,000 within six days of a 31-screen run. The film grossed an international total of $1.4 million by February 12, 1995, more than a month before the Oscar ceremony. It finally grossed $27.4 million internationally for a worldwide total of $52.2 million.


title: Quiz Show (film)

text: "Quiz Show" currently holds a 96% rating on Rotten Tomatoes based on 55 reviews, with an average rating of 8.17/10. The site's consensus states: "Robert Redford refracts the sociopolitical and moral issues posed by the subject material through a purely entertaining, well-acted lens." Film critic Roger Ebert gave the film 3½ stars out of four, calling the screenplay "smart, subtle and ruthless." Web critic James Berardinelli praised the "superb performances by Fiennes", and said "John Turturro is exceptional as the uncharismatic Herbie Stempel." Writing for "Entertainment Weekly," Owen Gleiberman highlighted the supporting performance of Paul Scofield as Mark Van Doren, stating that "it's in the relationship between the two Van Dorens that "Quiz Show" finds its soul."


title: Quiz Show (film)

text: Kenneth Turan called Scofield's performance his best since "A Man for All Seasons" (1966), and suggested the film "would have been a very different experience" without Fiennes' "ability to project the pain behind a well-mannered facade, to turn intellectual and emotional agony into a real and living thing. However, he also was a bit more critical towards the exaggerated performances of Turturro and Morrow.


title: Quiz Show (film)

text: Charles Van Doren said, "I understand that movies need to compress and conflate, but what bothered me most was the epilogue stating that I never taught again. I didn't stop teaching, although it was a long time before I taught again in a college. I did enjoy John Turturro's version of Stempel. And I couldn't help but laugh when Stempel referred to me in the film as 'Charles Van Fucking Moron.'"


title: Quiz Show (film)

text: Paul Scofield was also nominated for the Dallas–Fort Worth Film Critics Association Award for Best Supporting Actor, the National Society of Film Critics Award for Best Supporting Actor, and the New York Film Critics Circle Award for Best Supporting Actor.


title: Quiz Show (film)

text: John Turturro was also nominated for the Chicago Film Critics Association Award for Best Supporting Actor.


title: Christina Wilson

text: Christina M. Wilson (born January 15, 1979) is an American chef and reality television personality. She was the winner of season 10 of the FOX Network's reality cooking show "Hell's Kitchen". She was awarded the position of chef de cuisine at Gordon Ramsay Steak at the Paris Las Vegas. After 2015, she was the Corporate Executive Chef of Gordon Ramsay Restaurant Group. In 2016 and from 2018 onward, she has also returned to "Hell's Kitchen" as a Sous-chef. Since 2020, she has been the VP Culinary of Gordon Ramsay North America.


title: Christina Wilson

text: Wilson is from Phillipsburg, New Jersey and in 1997 graduated from Phillipsburg High School, where she played field hockey, basketball and softball. She has three brothers and was inspired to cook by her grandmother. Wilson is openly lesbian.


title: Christina Wilson

text: Wilson earned a basketball scholarship to West Chester University in Pennsylvania but lost the scholarship and waited tables to pay tuition. She transferred to Temple University, graduating with a B.A. in English and Language Arts in 2007.


title: Christina Wilson

text: Wilson never attended culinary school, but instead got her start working at McDonald's. She cites her first real cooking experience as a job at West Chester Country Club in West Chester, Pennsylvania where she "begged to be allowed in the kitchen to learn." While attending Temple University in Philadelphia, she began working in city restaurants. Prior to her win on "Hell's Kitchen" in 2012, she was chef de cuisine at Mercato BYOB in Philadelphia. She underwent a six-week training course to prepare for her job at Gordon Ramsay Steak in Las Vegas.


title: Christina Wilson

text: In 2015, Wilson oversaw the U.S. division of the Gordon Ramsay Restaurant Group as Culinary Director, which comprised 10 restaurants at the time.


title: Christina Wilson

text: Since October 2020, Wilson has been the Vice President of Culinary for Gordon Ramsay North America; in addition to the 14 locations that Ramsay has in the United States at this time, Gordon Ramsay North America's CEO, Norman Abdallah, has signaled the company's intention to open 75 new company-owned locations across the United States between 2022 and 2026.


title: Christina Wilson

text: She has made an appearance on every subsequent "Hell’s Kitchen" season following her initial run, being the red team Sous-chef on seasons 15, 17, 18, 19, 20 and 21. She also made a few appearances on "Gordon Ramsay's 24 Hours to Hell and Back", "The F Word", and "MasterChef Junior". Additionally, in 2017 Wilson hosted a ten-episode YouTube series titled "Recipes From Hell's Kitchen".


title: Jean-Marie Loret

text: Jean-Marie Loret (25 March 1918 – 14 February 1985) was a French railway worker and allegedly Adolf Hitler's illegitimate son. According to Loret, his mother revealed to him shortly before her death in 1948 that the "unknown German soldier" with whom she had an affair during World War I was Adolf Hitler.


title: Jean-Marie Loret

text: Heinz Linge, who served as valet for Adolf Hitler, claimed in his memoirs "With Hitler to the End" that on 24 June 1940 Hitler secretly tasked Heinrich Himmler with finding Loret and his mother.


title: Jean-Marie Loret

text: Loret's claim was backed by German historian Werner Maser, who first brought the claim to public attention in 1977 newspapers following an article in "Zeitgeschichte" magazine. Loret published his own autobiography, "Ton père s'appelait Hitler" ["Your father was called Hitler"] in 1981.


title: Jean-Marie Loret

text: However, the dominant view represented by historians such as Anton Joachimsthaler, Timothy Ryback, Sir Ian Kershaw, and Belgian journalist Jean-Paul Mulders, is that Hitler's paternity of Loret is unlikely or impossible to prove.


title: Jean-Marie Loret

text: Jean-Marie Loret was born illegitimately in 1918 in Seboncourt as Jean-Marie Lobjoie. His mother was Charlotte Eudoxie Alida Lobjoie (1898–1951), daughter of Louis Joseph Alfred Lobjoie, a butcher, and his wife Marie Flore Philomène (Colpin) Lobjoie. According to the birth registry of his home town, Loret's father was an unidentified German soldier during World War I. Adolf Hitler had stayed in the localities of Seclin, Fournes-en-Weppes, Wavrin, and Ardooie during the years 1916 and 1917, and, according to eyewitnesses, he supposedly had a relationship with Charlotte Lobjoie. As a result, the idea that Hitler could be Loret's father was a perennial topic of discussion.


title: Jean-Marie Loret

text: Charlotte Lobjoie was a dancer, although she apparently only took up the profession after she moved to Paris, months after the birth of Jean-Marie and the end of the war. Jean-Marie spent his first seven years with his grandparents, with whom Charlotte had no contact after moving to Paris. On 22 May 1922, Charlotte married Clément Loret, a lithographer, who declared he would support his wife's illegitimate son and would allow him to bear his own last name. According to Jean-Marie, his grandparents had "treated him badly." After their deaths in the mid 1920s, his aunt, Alice Lobjoie, worked to have her nephew adopted by the family of the wealthy construction magnate Frizon from Saint Quentin. From then on, Jean-Marie attended consecutively Catholic boarding schools in Cambrai and Saint Quentin.


title: Jean-Marie Loret

text: In 1936, Jean-Marie entered the French army and was promoted over the years to staff sergeant. After World War II, he was a businessman, but had to give that up in 1948 because of insolvency.


title: Jean-Marie Loret

text: Loret said he always knew that his father had been a German soldier, but he had no idea of his identity. He claimed that his mother told him in 1948, shortly before her death, that the soldier was Adolf Hitler.


title: Jean-Marie Loret

text: During World War II Loret worked as "chargé de mission" with the French police in Saint-Quentin, Aisne. He claimed he got the job by Hitler's order, though there is nothing concrete to support this. Charges that he had collaborated with Gestapo units in France are also unproven. There were no charges of collaboration against him after the war. Loret has said that Hitler ordered all material on Loret to be destroyed. However, Loret was considered only an average individual and not overly diligent. It would have been unusual for him to have gained such a high post on his own merit when still in his early twenties.


title: Jean-Marie Loret

text: Loret was married and had three children. Some sources claim his wife separated from him in 1948 when she learned he was Hitler's son. Some newspaper articles mention his wife as Muguette, who was still living with him at the time. It is unclear whether she was his first wife or a new one.


title: Jean-Marie Loret

text: On 8 June 1978, during a public discussion, historian Werner Maser moved Loret to his own house in Speyer, Germany, to seclude him from the intense scrutiny by the press of Loret's home in Saint-Quentin. Maser and Loret visited several places, including the former concentration camp at Dachau, where Loret supposedly said: "I didn't choose my father."


title: Jean-Marie Loret

text: Maser took Loret with him as he travelled to lecture on his parentage, even bringing him to Tokyo. However, the Frenchman was reluctant to give interviews.


title: Jean-Marie Loret

text: In 1979, Loret and Maser had a falling-out and parted company. Subsequently, Loret, in collaboration with René Mathot, published his autobiography, "Ton père s'appelait Hitler" ["Your father was called Hitler"] (Paris, 1981).


title: Jean-Marie Loret

text: The story of "Hitler's son" was first revealed to the public in the 1970s, most prominently in various illustrated magazines such as "Bunte", but also in more reputable publications, such as the historical journal "Zeitgeschichte" and the news magazine "Der Spiegel". The latter published the most influential story on Loret to date under the title "Love in Flanders".


title: Jean-Marie Loret

text: The ultimate origin of the story of Hitler's son, at first spread only by word of mouth, was until then not determined, although written accounts maintaining that the illegitimate son of a French woman and a German soldier was Hitler's son had already been around for a fairly long time in Loret's hometown when Loret became known to German historian Werner Maser. Whether the rumors had been put out into the world by Loret himself or by others has never been determined. Hitler himself admitted he fathered a child, presumably Loret. In his book "With Hitler to the End: The Memoirs of Adolf Hitler's Valet" (1980), Heinz Linge states that Hitler had stated to a number of people "his belief that he had a son, born in 1918 as the result of a relationship Hitler had had with a French girl as a soldier in 1916–1917 in northern France and Belgium..."


title: Jean-Marie Loret

text: Maser maintained that he had heard of a reputed son of Hitler for the first time in 1965 while doing research in Wavrin and surrounding cities. He followed up on these reports, met Loret in the process, and was able to convince him to let the story be published. Maser exerted great effort to gather evidence to support it, however, historians including Anton Joachimsthaler have criticised this, alleging that Maser was subordinating the scholarly pursuit of truth in order to pursue commercial motives such as sensationalism and enjoyment of scandal.


title: Jean-Marie Loret

text: According to Maser's portrayal, the Loret–Hitler connection occurred as follows: Hitler had met Charlotte Lobjoie in 1916 in the city of Wavrin, in the German-occupied part of France, while stationed there as a soldier, and had begun a romantic relationship with her. Loret had been conceived in the summer of 1917 in Ardooie or, according to other sources, in the fall of 1917 in Le Ceteau. The latter scenario is the less likely variant since it would require a premature birth.


title: Jean-Marie Loret

text: At the beginning of 1916 the young woman had met the German soldier Adolf Hitler for the first time. She stayed first in Premont, allowed herself to fall into a sexual relationship with him, and followed him until autumn 1917 to, among other places, Seboncourt, Forunes, Wavrin and Noyelles-lès-Seclin in Northern France – and, in May, June and July 1917, also to Ardooie in Belgium (p. 528).


title: Jean-Marie Loret

text: The critics of this account pointed out that Maser had no evidence of this beyond Loret's own claims, which were secondhand at best. A genetic certification of his biological inheritance, done at the University of Heidelberg, resulted in the findings that "at best, Loret "could" be Hitler's son", but that he need not be such.


title: Jean-Marie Loret

text: Maser claimed that evidence for Hitler's paternity included Charlotte Lobjoie's commitment to a French sanatorium (allegedly at Hitler's instruction) after the German invasion of France, and a protracted interrogation of Loret by the Gestapo in the Hotel Lutetia, the Gestapo headquarters in Paris, as well as Loret's alleged collaboration with the Gestapo as a policeman.


title: Jean-Marie Loret

text: Maser's questioning of Alice Lobjoie, Loret's aunt and Charlotte's sister, whom he had wanted to bring into play as "crown witness" for his claim, rendered, instead, a negative result: Alice Lobjoie stated that her sister had indeed entertained a love relationship with a German soldier, but she disputed vehemently that this soldier had been Adolf Hitler. She stated that she could remember the man's face quite well and knew that this face had no resemblance to Hitler. In addition, she stated for the record: "Jean is a nutcase. Only the Germans talked up that Hitler story to him."


title: Jean-Marie Loret

text: In addition to Alice Lobjoie's assertion, critics of Maser's thesis, such as historian Joachimsthaler, among others, introduced into the debate testimonials from Hitler's war comrades, who, in their recollections of Hitler in the First World War, unanimously noted that he was absolutely against any relationships between German soldiers and French women. Balthasar Brandmayer for example, in his 1932 memoir "Two Dispatch-Runners", reported that Hitler had reacted in the most violent terms against the intent of his regiment-mates to get involved with French women and had reproached them for having "no German sense of honour".


title: Jean-Marie Loret

text: In addition, the critics asserted logical inconsistencies in Maser's story: that it is highly improbable that any soldier in the war, let alone a private ranking low in the military hierarchy, would have been able to take a lover with him through all the relocations of his regiment, as Hitler had done with Lobjoie, according to Maser's account. Free movement would scarcely have been possible in the occupied areas, and having Charlotte travel along with the regiment is very doubtful.


title: Jean-Marie Loret

text: During the course of the 1979 Aschaffenburger Historians' Moot, Maser at first kept quiet on the matter. Finally, in his own contribution to the discussion, he abruptly declared a possible illegitimate son of Hitler to be a marginal matter. Joachimsthaler designated this Maser's "own private end goal".


title: Jean-Marie Loret

text: "The Daily Express" claimed, in an article dated 15 February 1985, that a portrait of Loret's mother had been found, after Hitler's death, among the latter's possessions, but had no evidence for this claim. In point of fact, a portrait done by Adolf Hitler in the year 1916 that purportedly depicted Charlotte Lobjoie with head-scarf and with fork in hand was tracked to a Belgian entrepreneur in the 1960s and was published in an issue of the journal "Panorama" at the beginning of the 1970s. Therefore, it is highly unlikely that this same portrait was found among Hitler's possessions in 1945. One should in this case trace the origin of the claim to a misunderstanding.


title: Jean-Marie Loret

text: Following the 2005 publication of his book "Fälschung, Dichtung und Wahrheit über Hitler und Stalin" ("Forgery, Poetry and Truth about Hitler and Stalin"), Maser reaffirmed in an interview with the extreme right-wing-oriented "National-Zeitung" that he stood by his thesis, just as before, and maintained that Loret "was unambiguously Hitler's son", and that this had been "acknowledged in France on the part of officials". The 12th edition of Maser's book "Adolf Hitler: Legend, Myth, Reality", contains an appendix on this subject.


title: Jean-Marie Loret

text: In 2008 the Belgian journalist Jean-Paul Mulders travelled to Germany, Austria, France and the United States to collect DNA of the last living relatives of Hitler in Austria and on Long Island. He also obtained DNA from postcard stamps sent by Jean-Marie Loret. By comparing DNA from the stamps with that of Hitler's relatives, Mulders claimed proof that Jean-Marie Loret was not the son of Adolf Hitler. The results of his research were published in "Het Laatste Nieuws", Belgium's largest newspaper. In February 2009 a book on this subject was published by Herbig Verlag in Munich: "Auf der Suche nach Hitlers Sohn – Eine Beweisaufnahme".


title: Jean-Marie Loret

text: On 17 February 2012, the French magazine "Le Point" wrote a news article, reporting that studies from the seventies by the University of Heidelberg showed Hitler and Loret were of the same blood group and that another study showed they had similar handwriting. The article also stated that official German Army paperwork proves officers brought envelopes of cash to Miss Lobjoie during the World War II occupation. The magazine also described a suggestion by the family's lawyer that they may be able to claim royalties from Hitler's "Mein Kampf". The article was repeated the same day by other international newspapers such as "The Daily Telegraph" and the "National Post", who both misinterpreted the original article by claiming the French based their article on new studies. According to these newspapers a revised edition of Loret's book would be published containing the 'new' findings. The French article, however, did not mention a revised edition.


title: Jean-Marie Loret

text: In 2018 Russian state-owned TV channel NTV interviewed a man named Philippe Loret who is supposedly a son of Jean-Marie Loret. Loret claims to be the grandson of Hitler. The documentary is filmed at Loret's home, which is decorated with Nazi relics. In the documentary Loret speaks of a Rothschild family conspiracy. It was reported in 2018 that Loret's son Philippe would undergo a DNA test to determine if he is Hitler's grandson, but the results are unknown as of 2022.


title: Jim Keltner

text: James Lee Keltner (born April 27, 1942) is an American drummer and percussionist known primarily for his session work. He was characterized by Bob Dylan biographer Howard Sounes as "the leading session drummer in America".


title: Jim Keltner

text: Keltner was inspired to start playing because of an interest in jazz, but the popularity of jazz was declining during the late 1950s and early 1960s, and it was the explosion of pop/rock in the mid-1960s that enabled him to break into recording work in Los Angeles. His first gig as a session musician was recording "She's Just My Style" for the pop group Gary Lewis and the Playboys.


title: Jim Keltner

text: Keltner's music career was hardly paying a living, and for several years at the outset he was supported by his wife. Toward the end of the 1960s, he finally began getting regular session work and eventually became one of the busiest drummers in Los Angeles. His earliest credited performances on record were with Gabor Szabo on the 1968 album "Bacchanal".


title: Jim Keltner

text: In 1968, Keltner was also working in a music shop in Pasadena just down the street from the old Ice House coffeehouse when he was recruited to play drums in a "psychedelic" vocal group named "MC Squared" along with Michael Crowley, Michael Clough, Linda Carey, (all from the folk group The Back Porch Majority) and session guitarist/bassist Randy Cierley Sterling. They were signed by Mo Ostin and recorded an album for Warner/Reprise originally titled "MC Squared" which has later been re-mastered and re-released in 2012 with the album title "Tantalizing Colors." They appeared live that same year on the Hugh Hefner / Playboy Magazine television show Playboy After Dark playing two songs: an original by MC Squared members Michael Clough and Michael Crowley titled "I Know You" and a version of the Fred Neil song Everybody's Talkin'. Both Playboy After Dark performances with Keltner playing drums can currently be viewed on YouTube.


title: Jim Keltner

text: It was his work with Leon Russell playing on Delaney & Bonnie's "Accept No Substitute" that attracted the attention of Joe Cocker, who recruited Russell and everyone else he could out of the Delaney & Bonnie band for his "Mad Dogs & Englishmen" tour. Playing with Joe Cocker led to work in 1970 and 1971, on records by Carly Simon ("No Secrets"), Barbra Streisand ("Barbra Joan Streisand"), Booker T. Jones ("Booker T. & Priscilla"), George Harrison ("The Concert for Bangladesh") and John Lennon ("Imagine").


title: Jim Keltner

text: Keltner is well known for his session work on solo recordings by three members of the Beatles, working with George Harrison, John Lennon (including Lennon solo albums, as well as albums released both by the Plastic Ono Band and Yoko Ono), and Ringo Starr.


title: Jim Keltner

text: Keltner played on many key former Beatle solo releases, including Harrison's 1973 album "Living in the Material World" and Lennon's 1974 album "Walls and Bridges". When Ringo Starr recorded his first full-fledged pop album, "Ringo", Keltner was featured on several tracks. Following this, Keltner joined George Harrison on his 1974 tour of the United States.


title: Jim Keltner

text: In 1974 Keltner played on the Lennon-produced Harry Nilsson album "Pussy Cats" alongside Ringo (and Keith Moon) on "Rock Around the Clock". Keltner was featured on the Nilsson albums "Son of Schmilsson" with Harrison, Starr and Beatles associate Klaus Voormann as well as "Duit on Mon Dei" with Starr and Voormann.


title: Jim Keltner

text: Keltner's relationship with the former Beatles was such that his name was used to parody Paul McCartney on albums released by Harrison and Starr in 1973. Early that year, McCartney, the only Beatle not to have worked with Keltner, included a note on the back cover of his "Red Rose Speedway" album, encouraging fans to join the "Wings Fun Club" by sending a "stamped addressed envelope" to an address in London. Later that year, both Harrison's "Living in the Material World" and Starr's "Ringo" contained a similar note encouraging fans to join the "Jim Keltner Fan Club" by sending a "stamped undressed elephant" to an address in Hollywood.


title: Jim Keltner

text: Keltner played the role of the judge in the music video for George Harrison's 1976 Top 30 hit, "This Song".


title: Jim Keltner

text: Keltner is an endorser of DW drums, hardware and pedals, Ahead drumsticks/gloves/griptape, Paiste Cymbals, Remo drumheads and world percussion and Roland electronics.


title: Jim Keltner

text: In 1987, Keltner, along with guitarist Ry Cooder and bassist Nick Lowe, played on John Hiatt's "Bring the Family". Four years later the four musicians reunited as the band Little Village, recording an eponymous album.


title: Jim Keltner

text: Keltner played drums on both albums released by the 1980s supergroup the Traveling Wilburys, playing under the pseudonym "Buster Sidebury".


title: Jim Keltner

text: Keltner became Ry Cooder's go-to drummer, recording with him on many of his albums for over 40 years, including the following, as well as playing with him in Little Village.


title: Jim Keltner

text: Jim Keltner recorded two albums with his band Attitudes for George Harrison's Dark Horse label. The band also included Danny Kortchmar, David Foster and Paul Stallworth, and recorded "Attitudes" in 1975 and "Good News" in 1977.


title: Jim Keltner

text: He played on various tracks on Randy Newman's albums "Sail Away" and "Little Criminals", including "You Can Leave Your Hat On", "Short People", and "Jolly Coppers On Parade".


title: Jim Keltner

text: He played on 5 songs on Jackson Browne’s “For Everyman” album recorded in 1973 including the song “These Days.”


title: Jim Keltner

text: In 1973, he was the session drummer on Bob Dylan's "Pat Garrett & Billy the Kid", which includes the hit "Knockin' on Heaven's Door". He described that session as "a monumental session for me because it was such a touching song, it was the first time I actually cried when I was playing".


title: Jim Keltner

text: Other demonstrations of his style and range can be found in "Jealous Guy" on John Lennon's Imagine, the hit single "Dream Weaver" by Gary Wright, and "Watching the River Flow" by Bob Dylan.


title: Jim Keltner

text: Keltner is the drummer on the Steely Dan tune "Josie" (released in 1977). In the DVD "Steely Dan - Classic Albums: Aja", Donald Fagen states that in the bridge of the tune, Keltner overdubbed a 16th note based pattern played on a metal trash can lid.


title: Jim Keltner

text: Keltner is credited as the drummer on the 1979 album by Roy Clark and Gatemouth Brown, "Makin' Music".


title: Jim Keltner

text: Keltner appears on Marc Jordan's 1979 album "Blue Desert" on tracks "Twilight" and "Lost in The Hurrah".


title: Jim Keltner

text: Keltner specialized in R&B, and developed a deceptively simple drumming style that melds a casual, loose feel with extraordinary precision. He is said to have influenced Jeff Porcaro and Danny Seraphine of Chicago.


title: Jim Keltner

text: Keltner performed on many classic recordings by J. J. Cale and often worked with bassist Tim Drummond.


title: Jim Keltner

text: He played on four Richard Thompson albums: "Daring Adventures" (1986), "Amnesia" (1988), "Rumor and Sigh" (1991) and "you? me? us?" (1996).


title: Jim Keltner

text: Keltner played drums on the song "Now We're Getting Somewhere" from the hit album "Crowded House" (1986).


title: Jim Keltner

text: Also, he was a session drummer for the reunited Pink Floyd on the album "A Momentary Lapse of Reason".


title: Jim Keltner

text: In the mid-1990s, Keltner joined the London Metropolitan Orchestra on its recording of "An American Symphony" on the movie soundtrack for "Mr Holland's Opus".


title: Jim Keltner

text: In 1992, he played (together with Booker T. & the M.G.'s) at Bob Dylan's The 30th Anniversary Concert Celebration.


title: Jim Keltner

text: Keltner played on the 1997 Bill Frisell album "Gone, Just Like a Train" with Viktor Krauss and toured as a member of the trio in support of the album. He also played on the 1999 Frisell album "Good Dog, Happy Man" and is pictured in the CD leaflet and back cover (Nonesuch 79536-2).


title: Jim Keltner

text: In 2000, Keltner collaborated with Charlie Watts, drummer of the Rolling Stones, on an instrumental album entitled "The Charlie Watts–Jim Keltner Project". Watts played drums for each track, while Keltner contributed sequenced sounds and percussion. Tracks were named after famous drummers.


title: Jim Keltner

text: In 2002, he briefly joined Bob Dylan's band during the European gigs while its main drummer, George Receli, recuperated from a hand injury. Later in the year, Keltner played in Concert For George, a tribute to George Harrison a year following his death. Wearing a sweatshirt with a Bob Dylan logo, he reprised his role as the Wilburys' drummer, joining Tom Petty and Jeff Lynne for "Handle with Care." During that project and performance, he worked with Paul McCartney along with other percussionists, including Ringo Starr.


title: Jim Keltner

text: In 2006, he toured with T-Bone Burnett in "The True False Identity" tour and was featured on Jerry Lee Lewis's album "Last Man Standing". He played on Mavis Staples's album "We'll Never Turn Back", produced by Ry Cooder.


title: Jim Keltner

text: He also lent his drumming skills to the tracks on Richard Shapero's full-length album entitled "Wild Animus: The Ram", recorded the same year.


title: Jim Keltner

text: In 2007, he appeared with Lucinda Williams on "West". The album was listed No. 18 on "Rolling Stone"'s list of the Top 50 Albums of 2007. He also played on Phish keyboardist's self titled debut album Page McConnell, released in 2007.


title: Jim Keltner

text: In 2008, Keltner appeared on "Break up the Concrete" by The Pretenders, on "One Kind Favor" by B. B. King and on Oasis's "The Boy with the Blues", a non-album-track from "Dig Out Your Soul".


title: Jim Keltner

text: Also in 2008, Keltner participated in the production of the album "Psalngs", the debut release of Canadian musician John Lefebvre.


title: Jim Keltner

text: In 2009, Keltner played drums on singer/songwriter Todd Snider's Don Was-produced album, "The Excitement Plan".


title: Jim Keltner

text: In 2010, Keltner produced Jerry Lee Lewis's "Mean Old Man" duets CD. He played drums on Fistful of Mercy's debut album, "As I Call You Down", which one of the band's members, Dhani Harrison, described in an interview as the first project of his that he felt worthy to bring to Keltner, who was an old family friend (Dhani is the son of George Harrison). Keltner also played on "The Union" by Leon Russell and Elton John, produced by T-Bone Burnett and released on October 10, 2010. He also appeared on the eponymous Eric Clapton album, on 8 of the 14 tracks.


title: Jim Keltner

text: Joseph Arthur's 2011 album, "The Graduation Ceremony", features Keltner on drums, reprising a partnership that began with the Fistful of Mercy project.


title: Jim Keltner

text: He has recorded twice with the indie band She & Him, on 2011's "A Very She & Him Christmas" and 2014's "Classics".


title: Jim Keltner

text: He played drums on Michael Buble’s 2011 “Christmas” album. The tracks are “All I Want for Christmas is You,” and “Blue Christmas.”


title: Jim Keltner

text: For the 2012 release, "Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International", Keltner sat in a studio with Outernational covering Dylan's "When the Ship Comes In".


title: Jim Keltner

text: In 2012, he also played drums on John Mayer's "Something Like Olivia", the fifth track of the album "Born and Raised".


title: Jim Keltner

text: In 2013, Keltner appears on the track "If I Were Me" from "Sound City: Real to Reel" with Dave Grohl, Jessy Greene and Rami Jaffee. Also, on "Our Love Is Here To Stay", a classic Gershwin jazz standard recorded by Eric Clapton for his album, "Old Sock".


title: Jim Keltner

text: In 2016, Keltner also appeared on the Rolling Stones' CD "Blue & Lonesome", playing percussion on "Hoo Doo Blues."


title: Jim Keltner

text: In 2017, Keltner played drums and percussion as well as co-producing Conor Oberst's "Salutations" album. Oberst described Keltner's production as "flawless".


title: Jim Keltner

text: In 2018, he played drums and percussion on Boz Scaggs' 19th album, "Out of the Blues," and Eric Clapton's "Happy Xmas".


title: Jim Keltner

text: In 2019, Keltner played drums along with bassist Mike Watt for guitarist Mike Baggetta's "Wall of Flowers" album released in March. Keltner played drums on the original soundtrack for the movie "The Irishman". The music was written by Robbie Robertson.


title: Jim Keltner

text: Keltner plays drums on the song included on Mike Viola's 2020 album "The Best of Mike Viola". Manga artist Naoki Urasawa, who wrote the original song, also performs on it and drew a short manga of the experience for his "Musica Nostra" series that features Keltner.


title: Cephalic index

text: The cephalic index or cranial index is the ratio of the maximum width (biparietal diameter or BPD, side to side) of the head of an organism multiplied by 100 and then divided by their maximum length (occipitofrontal diameter or OFD, front to back). The index is used to categorize both humans and animals alike, the latter to dogs and cats especially.


title: Cephalic index

text: The cephalic index was widely used by anthropologists in the early 20th century to categorize human populations. It is now mainly used to describe individuals' appearances and for estimating the age of fetuses for legal and obstetrical reasons.