title: Cucuteni–Trypillia culture

text: A 2022 study published in "Scientific Reports" analyzed 18 new unrelated Trypillians from the Verteba Cave in Ukraine. With respect to Y-DNA haplogroup, three carried G2a2b2a3, two G2a2a1a, one G2a2a1, G2a2a1a3, C1a, I2a1a2a-L161.1, I2a2a1, and I2c, while mtDNA haplogroup, two J1c2, K1a2, T2b and one H, H15a1, H40, J1c5, K1a1b1, K1b1, N1a1a1a, T2, T2c1d1, U5a and U5a2. According to admixture analysis, all studied Ukrainian Trypillian samples "are mostly defined by the ancestral component dominant in Anatolia-Neolithic individuals, which suggests a strong relationship with European Neolithic populations, similar to previous studies. However, these samples also show the presence of EHG, CHG, and WHG components as described in Mathiesson et al., with the exception of one individual (I3151), who seems to be absent of any EHG/CHG ancestry". Phenotypically, all were lactose intolerant and almost all had a mutation associated with blue eyes.


title: Cucuteni–Trypillia culture

text: According to the paper, it indicates shared ancestry with the population of Baden culture, "in conclusion, the results show that Verteba Cave represents a significant mortuary site that connects East and West. The genetic structure of the CTCC peoples includes ancestry related to both earlier hunter-gatherers from the west and farmers from the Near East, and one that is genetically distinct from those of Moldovan CTCC peoples. The lack of local ancestry associated with Ukrainian Neolithic hunter-gatherers suggests that these farmers mostly replaced local foragers and did not mix with the neighbouring steppe populations. Additionally, during the Bronze Age, Verteba Cave was used by successive waves of nomadic pastoralists from the east that eventually brought significant genetic and cultural changes to Europe that eventually mixed with the local descendants of Trypillia-culture population".


title: Chamar

text: Chamar is a Dalit community classified as a Scheduled Caste under modern India's system of affirmative action. Historically subject to untouchability, they were traditionally outside the Hindu ritual ranking system of castes known as varna. They are found throughout the Indian subcontinent, mainly in the northern states of India and in Pakistan and Nepal.


title: Chamar

text: Ramnarayan Rawat posits that the association of the Chamar community with a traditional occupation of tanning was constructed, and that the Chamars were instead historically agriculturists.


title: Chamar

text: The term "chamar" is used as a pejorative word for dalits in general. It has been described as a casteist slur by the Supreme Court of India and the use of the term to address a person as a violation of the Scheduled Caste and Scheduled Tribe (Prevention of Atrocities) Act, 1989. Chamars have remained one of the most discriminated community within Hinduism. In reference to villages of Rohtas and Bhojpur district of Bihar, prevalence of a practice was revealed, in which it was obligatory for the women of Chamar and Dusadh community to have sexual contacts with their Rajput landlords. In order to keep their men in submissive position, these upper-caste landlords raped these Dalit women, and often implicate the male members of latter's family in false cases, when they refused sexual contacts with them. The other form of oppression which was inflicted on them was disallowing them to walk on the pathways and draw water from the wells, which belonged to Rajputs. The "pinching of breast" by the upper caste landlords and the undignified teasings were also common form of oppression. In the 1970s, the activism of peasant organizations like "Kisan Samiti" is said to have brought an end to these practices and subsequently the dignity was restored to the women of lower castes. The oppression however was not fully stopped as the friction between upper-caste landlords and the tillers continued. There are reports which indicates that the upper-caste landlords often took the help of Police in order to beat the women of Chamar caste and draw them out of their villages on the question of parity in wages.


title: Chamar

text: With the emergence of BSP in Uttar Pradesh, a collective solidarity and uniform Dalit identity was framed, which led to coming together of various antagonistic Dalit communities. In the past, Chamar had shared bitter relationship with the Pasis, another Dalit caste. The root cause of this bitter relationship was their roles in feudal society. The Pasis worked as "lathail" or stick wielders for the "Upper Caste" landlords and the later had compelled them in past to beat Chamars many a times. Under the unification drive of BSP, these rival castes came together for the cause of unity of Dalits under same political umbrella.


title: Chamar

text: Dhusia is a caste in India, sometimes associated with Chamars, Ghusiya, Jhusia or Jatav. They are found in Uttar Pradesh, and elsewhere.


title: Chamar

text: Most of the Dhusia in Punjab and Haryana migrated from Pakistan after partition of India. In Punjab, they are mainly found in Ludhiana, Patiala, Amritsar and Jalandhar cities. They are inspired by B. R. Ambedkar to adopt the surname Rao and Jatav.


title: Chamar

text: Chamars who have adopted the weaving profession and abandoned tanning and leathercraft, identify themselves as Julaha Chamar. R. K. Pruthi suggests this is in the hope that they might in future be considered as Julaha by other communities. They believe that leatherwork is "degrading" when compared to weaving.


title: Chamar

text: The 1st Chamar Regiment was an infantry regiment formed by the British during World War II. Officially, it was created on 1 March 1943, as the 27th Battalion 2nd Punjab Regiment. It was converted to the 1st Battalion and later disbanded shortly after World War II ended. The Regiment, with one year of service, received three Military Crosses and three Military Medals It fought in the Battle of Kohima. In 2011, several politicians demanded that it be revived.


title: Chamar

text: According to the 2001 census of India, the Chamars comprise around 14 per cent of the population in the state of Uttar Pradesh and 12 percent of that in Punjab.


title: Chamar

text: The 2011 Census of India for Uttar Pradesh combined the Chamar, Dhusia, Jhusia, Jatava Scheduled Caste communities and returned a population of 22,496,047.


title: Beat 'em up

text: The beat 'em up (also known as brawler and, in some markets, beat 'em all) is a video game genre featuring hand-to-hand combat against a large number of opponents. Traditional beat 'em ups take place in scrolling, two-dimensional (2D) levels, while a number of modern games feature more open three-dimensional (3D) environments with yet larger numbers of enemies. The gameplay tends to follow arcade genre conventions, such as being simple to learn but difficult to master, and the combat system tends to be more highly developed than other side-scrolling action games. Two-player cooperative gameplay and multiple player characters are also hallmarks of the genre. Most of these games take place in urban settings and feature crime-fighting and revenge-based plots, though some games may employ historical, science fiction or fantasy themes.


title: Beat 'em up

text: The first beat 'em up was 1984's "Kung-Fu Master", which was based on Hong Kong martial arts films. 1986's "Nekketsu Kōha Kunio-kun" introduced the belt scroll format employed extensively by later games, while also popularizing contemporary urban settings, while its Western localized version "Renegade" further introduced underworld revenge themes. The genre then saw a period of high popularity between the release of "Double Dragon" in 1987, which defined the two-player cooperative mode and continuous belt scroll format central to classic beat 'em ups, and 1991's "Street Fighter II", which drew gamers towards one-on-one fighting games. Games such as "Streets of Rage", "Final Fight", "Golden Axe" and "Teenage Mutant Ninja Turtles" are other classics to emerge from this period. In the late 1990s, the genre lost popularity with the emergence of 3D-polygon technology.


title: Beat 'em up

text: In the 2000s, a sub-genre of 3D hack-and-slash games emerged (also known as "character action games"), adapting the beat 'em up formula to utilize large-scale 3D environments, with popular franchises including "Devil May Cry", "Dynasty Warriors", "God of War" and "Bayonetta". Since the 2010s, traditional 2D beat 'em ups have seen a resurgence, with popular titles such as "Dungeon Fighter Online", "Dragon's Crown", "Streets of Rage 4" and "".


title: Beat 'em up

text: A beat 'em up (also called a "brawler") is a type of action game where the player character must fight a large number of enemies in unarmed combat or with melee weapons. Gameplay consists of walking through a level, one section at a time, defeating a group of enemies before advancing to the next section; a boss fight normally occurs at the end of each level. Arcade versions of these games are often quite difficult to win, causing players to spend more money.


title: Beat 'em up

text: Beat 'em ups are related to but distinct from fighting games, which are based around one-on-one matches rather than scrolling levels and multiple enemies. Such terminology is loosely applied, however, as some commentators prefer to conflate the two terms. At times, both one-on-one fighting games and scrolling beat 'em ups have influenced each other in terms of graphics and style and can appeal to fans of either genre. Occasionally, a game will feature both kinds of gameplay.


title: Beat 'em up

text: In the United Kingdom, video game magazines during the 1980s to 1990s, such as "Mean Machines" and "Computer & Video Games" (C+VG) for example, referred to all games which had a combat motif as beat 'em ups, including fighting games. However, they were differentiated by a specific prefix; games like "Double Dragon" or "Final Fight" were called "scrolling beat 'em ups" and games such as "Street Fighter II" or "Mortal Kombat" were referred to as "one on one beat 'em ups". Fighting games were still being called "beat 'em up" games in the UK gaming press up until the end of the 1990s.


title: Beat 'em up

text: Beat 'em up games usually employ vigilante crime fighting and revenge plots with the action taking place on city streets, though historical and fantasy themed games also exist. Players must walk from one end of the game world to the other, and thus each game level will usually scroll horizontally. Some later beat 'em ups dispense with 2D-based scrolling levels, instead allowing the player to roam around larger 3D environments, though they retain the same simple-to-learn gameplay and control systems. Throughout the level, players may acquire weapons that they can use as well as power-ups that replenish the player's health.


title: Beat 'em up

text: As players walk through the level, they are stopped by groups of enemies who must be defeated before they're able to continue. The level ends when all the enemies are defeated. Each level contains many identical groups of enemies, making these games notable for their repetition. In beat 'em up games, players often fight a boss—an enemy much stronger than the other enemies—at the end of each level.


title: Beat 'em up

text: Beat 'em ups often allow the player to choose between a selection of protagonists—each with their own strengths, weaknesses, and set of moves. The combat system typically tends to be more highly developed than other side-scrolling action games. Attacks can include rapid combinations of basic attacks (combos) as well as jumping and grappling attacks. Characters often have their own special attacks, which leads to different strategies depending on which character the player selects. The control system is usually simple to learn, often comprising just two attack buttons. These buttons can be combined to pull off combos, as well as jumping and grappling attacks. Since the release of "Double Dragon", many beat 'em ups have allowed two players to play the game cooperatively—a central aspect to the appeal of these games. Beat 'em ups are more likely to feature cooperative play than other game genres.


title: Beat 'em up

text: Beat 'em up games have origins in martial arts films, particularly Bruce Lee's Hong Kong martial arts films. Lee's "Game of Death" (1972) inspired the basic structure of a beat 'em up, with Lee ascending five levels of a pagoda while fighting numerous enemies and several boss battles along the way, while another Lee film "Enter the Dragon" (1973) also influenced the genre. The first video game to feature fist fighting was Sega's arcade boxing game "Heavyweight Champ" (1976), which is viewed from a side-view perspective like later fighting games. However, it was Data East's fighting game "Karate Champ" (1984) which popularized martial arts themed games.


title: Beat 'em up

text: "Kung-Fu Master" (known as "Spartan X" in Japan), designed by Takashi Nishiyama and released by Irem in 1984, laid the foundations for side-scrolling beat 'em ups. It simplified the combat system of "Karate Champ", while adding numerous enemies along a side-scrolling playfield. The game was based on two Hong Kong martial arts films: Jackie Chan's "Wheels on Meals" (1984), known as "Spartan X" in Japan (where the game was a tie-in), and Bruce Lee's "Game of Death", the latter inspiring the five end-of-level boss fights and the plot structure, variations of which were used in subsequent scrolling beat 'em ups. Nishiyama, who had previously created the side-scrolling shooter "Moon Patrol" (1982), combined a shoot 'em up gameplay rhythm with fighting elements when he designed "Kung-Fu Master". The game was also distinctive for its use of health meters, for both the player character and each boss. Another 1984 release, "Bruce Lee", combined multi-player, multi-character combat with traditional collecting, platform and puzzle gameplay. Later that year, "Karateka" combined the one-on-one fight sequences of "Karate Champ" with the freedom of movement in "Kung-Fu Master", and it successfully experimented with adding plot to its fighting action. It was also among the first martial arts games to be successfully developed for and ported across different home systems. Sega's "My Hero" (1985) adopted the gameplay format of "Kung-Fu Master", but changing the more traditional martial arts setting to a more contemporary urban city environment with street gangs.


title: Beat 'em up

text: "Nekketsu Kōha Kunio-kun", developed by Technōs Japan and released in 1986 in Japan, introduced the belt scroll format, allowing both vertical and horizontal movement along a side-scrolling environment, while also popularizing street brawling in the genre. Created by Yoshihisa Kishimoto, game was inspired by his own teenage high school years getting into daily fights, along with Bruce Lee's martial arts film "Enter the Dragon". The Western adaptation "Renegade" (released the same year) added an underworld revenge plot that proved more popular with gamers than the principled combat sport of other martial arts games. "Renegade" set the standard for future beat 'em up games as it introduced the ability to move both horizontally and vertically. It also introduced the use of combo attacks; in contrast to earlier games, the opponents in "Renegade" and "Double Dragon" could take much more punishment, requiring a succession of punches, with the first hit temporarily immobilizing the enemy, making him unable to defend himself against successive punches. Rather than one-hit kills, the player needed to hit enemies multiple times, "beating them up," in order to defeat them. Compared to earlier side-scrollers, the environment was expanded to a scrolling arena-like space, while the combat system was more highly developed, with the player able to punch, kick, grab, charge, throw and stomp enemies.


title: Beat 'em up

text: In 1987, the release of "Double Dragon", designed as Technōs Japan's spiritual successor to "Kunio-kun" ("Renegade"), ushered in a "Golden Age" for the beat 'em up genre that took it to new heights with its detailed set of martial arts attacks and its outstanding two-player cooperative gameplay. It also had a continuous side-scrolling world, in contrast to the bounded scrolling arenas of "Kunio-kun", giving "Double Dragon" a sense of progression, along with the use of cut scenes to give it a cinematic look and feel. Like "Kunio-kun", the game's combat system drew inspiration from the Bruce Lee film "Enter the Dragon", while "Double Dragon" added a new disaster-ridden city setting inspired by the "Mad Max" films and "Fist of the North Star" manga and anime series. "Double Dragon" became Japan's third highest-grossing table arcade game of 1987, before becoming America's overall highest-grossing dedicated arcade game for two years in a row, in 1988 and 1989.


title: Beat 'em up

text: "Double Dragon" success resulted in a flood of beat 'em ups in the late 1980s, where acclaimed titles such as "Golden Axe" and "Final Fight" (both 1989) distinguished themselves from the others. "Final Fight" was Capcom's intended sequel to "Street Fighter" (provisionally titled "Street Fighter '89"), but the company ultimately gave it a new title. In contrast to the simple combo attacks in "Renegade" and "Double Dragon", the combo attacks in "Final Fight" were much more dynamic, and the sprites were much larger. Acclaimed as the best game in the genre, "Final Fight" spawned two home sequels and was later ported to other systems. "Golden Axe" was acclaimed for its visceral hack and slash action and cooperative mode and was influential through its selection of multiple protagonists with distinct fighting styles. It is considered one of the strongest beat 'em up titles for its fantasy elements, distinguishing it from the urban settings seen in other beat 'em ups. "Bad Dudes Vs. DragonNinja" featured platform elements, while "" took the weapon aspect a stage further, allowing the players to pick up guns. Another beat 'em up—"River City Ransom" (1989), named "Street Gangs" in Europe—featured role-playing game elements with which the player's character could be upgraded, using money stolen from defeated enemies.


title: Beat 'em up

text: The "Streets of Rage" series was launched in the early 1990s and borrowed heavily from "Final Fight". "Streets of Rage 2" (1992) for Sega's Mega Drive/Genesis was one of the first console games to match the acclaim of arcade beat 'em ups. Its level design was praised for taking traditional beat 'em up settings and stringing them together in novel ways, and its success led to it being ported to arcades. The beat 'em up was also a popular genre for video games based on television series and movies, with "Teenage Mutant Ninja Turtles" and "Batman Returns" a surprise success, and encouraged many more beat 'em up games based on the characters. Taito's arcade game "Riding Fight" (1992) combined beat 'em up gameplay with a pseudo-3D chase view and hoverboard racing gameplay. The "golden age" of the genre eventually came to an end during the early 1990s, following the success of Capcom's "Street Fighter II" (1991) which drew gamers back towards one-on-one fighting games, while the subsequent emerging popularity of 3D video games in the late 1990s diminished the popularity of 2D-based pugilistic games in general.


title: Beat 'em up

text: Sega's "Die Hard Arcade" (1996) was the first beat 'em up to use texture-mapped 3D polygon graphics, and it used a sophisticated move set likened to a fighting game. It updated the "Streets of Rage" formula to 3D, while implementing moves and combos from the fighting game "Virtua Fighter 2" (1994), the ability to combine weapons to create more powerful weapons, and in two-player mode the ability to perform combined special moves and combos. It also had cut scenes, with quick time events interspersed between scenes. The game achieved a certain degree of success, and entered the Japanese arcade earnings charts at number-two in August 1996. Core Design's "Fighting Force" (1997) was anticipated to redefine the genre for 32-bit consoles through its use of a 3D environment. However, it was met with a lukewarm reception. The beat 'em up genre declined in the late 1990s, largely disappearing from arcades by the end of the decade.


title: Beat 'em up

text: In 2000, Squaresoft published "The Bouncer" (2000), developed by DreamFactory and designed by former "Virtua Fighter" designer Seiichi Ishii, for the PlayStation 2 console. It was an ambitious project that attempted to deliver a cinematic, story-driven beat 'em up, combining 3D beat 'em up gameplay with action role-playing game elements, cinematic cutscenes, high production values and an "Active Character Selection" system where choices alter the storyline. It was highly anticipated due to Squaresoft's reputation with Japanese role-playing games such as "Final Fantasy", but was met with a mixed reception upon release. The same year, Italian studio NAPS team released "Gekido: Urban Fighters" for the PlayStation console, which uses a fast-paced beat 'em up system, with many bosses and a colorful design in terms of graphics.


title: Beat 'em up

text: In the early 2000s, game reviewers started to pronounce that the genre had died off. By 2002, there were virtually no new beat 'em ups being released in arcades.


title: Beat 'em up

text: After 2000, the beat 'em up genre began seeing a revival in the form of popular 3D hack and slash games in the style of "Devil May Cry" (2001 onwards), including "Onimusha", "Ninja Gaiden" (2004 onwards), "God of War" (2005 onwards), "Heavenly Sword" (2007), "Afro Samurai" (2009), and "Bayonetta" (2009). Featuring a more fantasy themed approach, with longer campaigns and the variety seen before in multiple characters now being present in the one and only main character. Giving the player multiple weapons and movesets based on a variety of martial arts and different weapons. These games are also known as "character action" games, which represent an evolution of traditional arcade action games. The subgenre was largely defined by Hideki Kamiya, creator of "Devil May Cry" and "Bayonetta".


title: Beat 'em up

text: A best-selling Japanese series is the "Dynasty Warriors" series, which beginning with "Dynasty Warriors 2" (2000) offered beat 'em up action on large 3D battlefields with war strategy game elements, displaying dozens of characters on the screen at a time. The series to date spans 14 games (including expansions) which players in the West view as overly similar, although the games' creators claim their large audience in Japan appreciates the subtle differences between the titles. While critics saw "Dynasty Warriors 2" as innovative and technically impressive, they held a mixed opinion of later titles. These later games received praise for simple, enjoyable gameplay but were simultaneously derided as overly simplistic and repetitive.


title: Beat 'em up

text: Capcom also created the "Sengoku Basara" series (2005 debut), following similar historical war conquering take of the "Dynasty Warriors" series, but following a more anime-esque and fantasy over the top presentantion than Koei's franchise. "Sengoku Basara" featured multiple games in the series, an anime adaptation and multiple spin-offs.


title: Beat 'em up

text: On the urban-themed side of the genre was the "Yakuza" series (2005 debut), which combined elaborate crime thriller plots and detailed interactive environments with street brawling action. Rockstar Games' "The Warriors" (based on the 1979 movie of the same name), released in 2005, featured large scale brawling in 3D environments interspersed with other activities such as chase sequences. The game also featured a more traditional side-scrolling beat 'em up "Armies of the Night" as bonus content, which was acclaimed along with the main game and was later released on the PlayStation Portable.


title: Beat 'em up

text: Capcom's "Viewtiful Joe" (2003), directed by "Devil May Cry" creator Hideki Kamiya, used cel-shaded graphics and innovative gameplay features (such as the protagonist's special powers) to "reinvigorate" its traditional 2D scrolling formula. Releases such as "God Hand" in 2006 and "MadWorld" in 2009 were seen as parodies of violence in popular culture, earning both games praise for not taking themselves as seriously as early beat 'em up games. Classic beat 'em ups have been re-released on services such as the Virtual Console and Xbox Live Arcade; critics reaffirmed the appeal of some, while the appeal of others has been deemed to have diminished with time. Although the genre lacks the same presence it did in the late 1980s, some titles such as "Viewtiful Joe" and "God Hand" kept the traditional beat 'em up genre alive.


title: Beat 'em up

text: The traditional 2D beat 'em up genre has seen a resurgence in Asia, where the South Korean online beat 'em up "Dungeon Fighter Online" (2004) is very popular. "Dungeon Fighter Online" has become one of the most-played and highest-grossing games of all time, having grossed over $10 billion. Other traditional 2D scrolling beat 'em ups were released on Xbox Live Arcade and PlayStation Network including The Behemoth's "Castle Crashers" (2008), featuring cartoon graphics, quirky humor, and acclaimed cooperative gameplay, "" (2011), "Double Dragon Neon" (2012) and "" (2010).


title: Beat 'em up

text: "Fable Heroes" (2012) is an Xbox Live Arcade only title released in 2012. "Saints Row IV" (2013) featured a parody of "Streets Of Rage" entitled "Saints Of Rage", where the player rescues Johnny Gat from a virtual prison. "Dragon's Crown" (2013) is a 2D fantasy game with a mix of beat 'em up and ARPG elements that were specifically inspired by "Golden Axe" and "". "Streets of Rage 4" (2020) was also released to critical acclaim and has renewed interested in both the series and genre. "Dragon's Crown" sold over a million copies by 2017, while "Streets of Rage 4" has sold over copies . Also other well known classic franchises gained new titles such as "Battletoads" (2020) and "The Ninja Saviors: Return of the Warriors" (2019) and "River City Girls" (2019).


title: Beat 'em up

text: The beat 'em up genre has also seen a resurgence within indie game development, resulting in unique titles such as DrinkBox Studios' 2013 indie title "Guacamelee!" and its 2018 sequel, which are both noted for their hybrid 2D Metroidvania-style platform brawler gameplay. Other indie titles are "The Takeover" (2019), "Ninjin: Clash of Carrots" (2018), and the critically acclaimed "Fight'N Rage" (2017).


title: American Bandstand

text: American Bandstand, abbreviated AB, is an American music-performance and dance television program that aired in various versions from 1952 to 1989, and was hosted from 1956 until its final season by Dick Clark, who also served as the program's producer. It featured teenagers dancing to Top 40 music introduced by Clark; at least one popular musical act—over the decades, running the gamut from Jerry Lee Lewis to Run–D.M.C.—usually appeared in person to lip-sync one of their latest singles. Freddy Cannon holds the record for most appearances, at 110.


title: American Bandstand

text: The show's popularity helped Dick Clark become an American media mogul and inspired similar long-running music programs, such as "Soul Train" and British series "Top of the Pops". Clark eventually assumed ownership of the program through his Dick Clark Productions company.


title: American Bandstand

text: "American Bandstand" premiered locally in late March 1952 as Bandstand on Philadelphia television station WFIL-TV Channel 6 (now WPVI-TV), as a replacement for a weekday movie that had shown predominantly British films. Hosted by Bob Horn as a television adjunct to his radio show of the same name on WFIL radio, "Bandstand" featured short musical films produced by Snader Telescriptions and Official Films, with occasional studio guests. This incarnation was an early version of the music video shows that became popular in the 1980s, featuring films that were the ancestors of music videos.


title: American Bandstand

text: Horn, however, was disenchanted with the program, and wanted to change the show to a dance program with teenagers dancing along on camera as records played, based on an idea that came from a radio show on WPEN, "The 950 Club", hosted by Joe Grady and Ed Hurst. This more-familiar version of "Bandstand" debuted on October 7, 1952, in "Studio 'B'", which was located in their just-completed addition to the original 1947 building in West Philadelphia, and was hosted by Horn, with Lee Stewart as co-host until 1955. Stewart was the owner of a TV/Radio business in Philadelphia and even though he was an older gentleman, his advertising account was a large one for WFIL-TV, so he was put on the program to appease the account. As WFIL grew financially and the account became less important, Stewart wasn't needed and was eventually dropped from the program. Tony Mammarella was the original producer with Ed Yates as director. The short Snader and Official music films continued in the short term to fill gaps when dancers were changed during the show—a necessity, because the studio could not fit more than 200 teenagers.


title: American Bandstand

text: On July 9, 1956, Horn was fired after a drunk-driving arrest, as WFIL and dual owner Walter Annenberg's "The Philadelphia Inquirer" were then


title: American Bandstand

text: running a series on drunken driving. He was also reportedly involved in a prostitution ring and brought up on morals charges. Horn was temporarily replaced by producer Tony Mammarella before the job went to Dick Clark permanently.


title: American Bandstand

text: In late spring of 1957, the ABC television network asked their O&O's and affiliates for programming suggestions to fill their 3:30 p.m. (ET) time slot (WFIL had been pre-empting the ABC programming with "Bandstand"). Clark decided to pitch the show to ABC president Thomas W. Moore, and after some negotiations the show was picked up nationally, becoming "American Bandstand" on August 5, 1957. This first national broadcast of American Bandstand was filmed in the Starlight Ballroom in Wildwood, NJ. One show from this first season (December 18, 1957, identified as the "Second National Telecast") is preserved in the archives of Chicago's Museum of Broadcast Communications.


title: American Bandstand

text: One market not telecasting "Bandstand" was Baltimore, Maryland, as local affiliate WAAM (now WJZ-TV) elected to produce a local dance show in the same afternoon time slot. Local radio disc jockey Buddy Deane was chosen as the host of "The Buddy Deane Show" on Channel 13, and began a daily two hour broadcast on September 9, 1957. This development created a sometimes heated rivalry between Dick Clark and Buddy Deane, when performers who appeared first on Deane's program were refused booking on "American Bandstand". Acts debuting on "Bandstand" appeared on Deane's program, but were asked to not mention their previous appearance with Clark while on the Baltimore show. "The Buddy Deane Show" aired on WJZ-TV until January 4, 1964.


title: American Bandstand

text: "Studio 'B'" measured , but appeared smaller due to the number of props, television cameras, and risers that were used for the show. It was briefly shot in color in 1958 when WFIL-TV began experimenting with the new technology. Due to the size of the studio, the need to have as much dance space as possible, and the size of the cumbersome color camera compared to the black-and-white models, it was only possible to have one RCA TK-41 where three RCA TK-10s had been used before. WFIL reverted to the TK-10s two weeks later when ABC refused to carry the color signal and management realized that the show lost perspective without the extra cameras.


title: American Bandstand

text: Clark regularly asked teenagers their opinions of the songs being played, through the "Rate-a-Record" segment. During the segment, two audience members each ranked two records on a scale of 35 to 98, after which their two opinions were averaged by Clark, who then asked the chosen members to justify their scores. The segment gave rise to the catchphrase "It's got a good beat and you can dance to it." In one humorous segment broadcast for years on retrospective shows, comedians Cheech and Chong appeared as the record raters.


title: American Bandstand

text: Featured artists typically performed their current hits by lip-syncing to the released version of the song.


title: American Bandstand

text: The only singer to ever co-host the show with Dick Clark was Donna Summer, who joined him to present a special episode dedicated to the release of the Casablanca film "Thank God It's Friday" on May 27, 1978. From the late 1950s and most of the 1960s, Clark's on-camera sidekick was announcer Charlie O'Donnell, who later went on to announce "Wheel of Fortune" and other programs hosted or produced by Clark, such as "The $100,000 Pyramid". There were occasional shows that were "not" hosted by Clark, in which case a substitute host (among them Rick Azar) was brought in.


title: American Bandstand

text: "Bandstand" originally used "High Society" by Artie Shaw as its theme song, but by the time the show went national, it had been replaced by various arrangements of Charles Albertine's "Bandstand Boogie", including Les Elgart's big-band recording remembered by viewers of the daily version. From 1969 to 1974, "Bandstand Theme", a synthesized rock instrumental written by Mike Curb, opened each show. From 1974 to 1977, there was a newer, orchestral disco version of "Bandstand Boogie", arranged and performed by Joe Porter, played during the opening and closing credits. Elgart's version was released as a single in March 1954 (Columbia 40180) as well as Curb's theme (by "Mike Curb & The Waterfall") in October 1969 (Forward 124).


title: American Bandstand

text: From 1977 to September 6, 1986, the show opened and closed with Barry Manilow's rendition of "Bandstand Boogie", which he originally recorded for his 1975 album "Tryin' to Get the Feeling". This version introduced lyrics written by Manilow and Bruce Sussman, referencing elements of the series. The previous theme was retained as bumper music. From September 13, 1986, to September 5, 1987, Manilow's version was replaced at the close of the show by a new closing theme arranged by David Russo, who also performed an updated instrumental arrangement of "Bandstand Boogie" when "Bandstand" went into syndication.


title: American Bandstand

text: From 1974 to September 6, 1986, "Bandstand" featured another instrumental at its mid-show break: Billy Preston's synth hit "Space Race".


title: American Bandstand

text: When ABC picked up the game show "Do You Trust Your Wife?" from CBS in November 1957, they renamed the program as "Who Do You Trust?" and scheduled the program at 3:30 pm ET—almost in the middle of "Bandstand". Instead of shortening or moving "Bandstand", ABC opted to just begin "Bandstand" at 3 pm, cut away to "Who Do You Trust?" at 3:30 pm, then rejoin "Bandstand" at 4 pm. In Philadelphia, however, WFIL opted to tape-delay the game show for later broadcast in another time slot, and to continue on with "Bandstand", though only for the local audience.


title: American Bandstand

text: A half-hour evening version of "American Bandstand" aired on Monday nights from 7:30 p.m. to 8:00 p.m. (ET), beginning on October 7, 1957. It preceded "The Guy Mitchell Show." Both were ratings disasters. Dick Clark later stated that he "knew" the prime-time edition would fail because its core audience – teenagers and housewives – was occupied with other interests in the evenings. The Monday-night version aired its last program in December 1957, but ABC gave Clark a Saturday-night time slot for "The Dick Clark Saturday Night Beech-Nut Show", which originated from the Little Theatre in Manhattan, beginning on February 15, 1958. The Saturday show would run until 1960.


title: American Bandstand

text: The program was broadcast live, weekday afternoons and, by 1959, the show had a national audience of 20 million. In the fall of 1961, ABC truncated "American Bandstand"'s airtime from 90 to 60 minutes (4:00–5:00 pm ET), then even further as a daily half-hour (4:00–4:30 pm ET) program in September 1962; beginning in early 1963, all five shows for the upcoming week were videotaped the preceding Saturday. The use of videotape allowed Clark to produce and host a series of concert tours around the success of "American Bandstand" and to pursue other broadcast interests. On September 7, 1963, the program was moved from its weekday slot and began airing weekly every Saturday afternoon, restored to an hour, until 1989.


title: American Bandstand

text: When WFIL-TV moved to a new facility on City Line Avenue (one that did not have a studio that could accommodate the show), ABC moved production of "Bandstand" to the ABC Television Center (stage 5) in Los Angeles (now known as The Prospect Studios) on February 8, 1964, which coincidentally was the day before the Beatles first appeared on "The Ed Sullivan Show". Prior to the move, "Bandstand" had sourced many of its up-and-coming acts from Philadelphia's Cameo-Parkway Records. The combined impact of "Bandstand's" move to California and the Beatles' arrival devastated Cameo-Parkway and inflicted permanent damage to the artists signed to the label.


title: American Bandstand

text: The program was permanently shot in color starting on September 9, 1967. The typical production schedule consisted of videotaping three shows on a Saturday and three shows on a Sunday, every six weeks. The shows were usually produced in either Stage 54 or Stage 55 at ABC Television Center.


title: American Bandstand

text: In September 1964, "Bandstand" began using a new logo based on the ABC circle logo, reading "ab" in the same typeface followed by a number representing the year the show aired. This started with "'65", then "'66", "'67", "'68" and "'69" when each year arrived. On September 13, 1969, the Bandstand set was given a complete overhaul and Les Elgart's big band version of "Bandstand Boogie" was replaced by the Mike Curb theme. The "ab" logo was replaced with the iconic stylized "AB" logo (shown at the top of this page) used for the remainder of the show's run. This set and theme music were used until September 1974, with the arrival of a brand new set and the second, updated version of "Bandstand Boogie".


title: American Bandstand

text: For a brief time in 1973, "Bandstand" alternated its time slot with "Soul Unlimited", a show featuring soul music that was hosted by Buster Jones. "Soul Unlimited" was not well-received among its target audience of African-Americans, ostensibly due to its being created by a white man (Clark), and because of its alleged usage of deliberately racial overtones despite this fact. Don Cornelius, the creator and host of "Soul Train", along with Jesse Jackson, entered into a dispute with Clark over this upstart program, and it was canceled within a few weeks. Set pieces from "Soul Unlimited" were utilized by "Bandstand" for its 1974–1978 set design. As previously mentioned, during the 1978 season of "Bandstand", Donna Summer became the only music artist in "Bandstand"s history to co-host the program.


title: American Bandstand

text: Many local Philadelphia teenagers became household names by appearing and dancing on "American Bandstand" on a regular basis from the '50s to the early '60s:


title: American Bandstand

text: As "Bandstand" moved towards the 1980s, the ratings began to decline. Many factors were involved in this, particularly the launch and rise of MTV and other music programs on television, and along with that, the number of ABC affiliates opting to pre-empt or delay the program. The increase in competition hurt "Bandstand" and the variety of options for music on TV decreased its relevance. The other reason was that "American Bandstand" was pre-empted on many occasions by televised college football games (which expanded greatly in number in the wake of a court-ordered deregulation in 1984) which were becoming huge ratings successes, as well as occasional special presentations (i.e. unsold game show pilots). Making matters worse, on September 13, 1986, ABC reduced "Bandstand" from a full hour to 30 minutes; at Clark's request, the 2,751st and final ABC installment (with Laura Branigan performing "Shattered Glass") aired on September 5, 1987.


title: American Bandstand

text: Two weeks later, "Bandstand" moved to first-run syndication. Dubbed as "The New American Bandstand" and distributed by LBS Communications, the series' tapings were moved from the ABC Television Center to the Hollywood studios of Los Angeles's PBS member station KCET, with a new set was similar to that of "Soul Train". Clark continued as host of the series, which was restored to its former hour length, and aired on stations including KYW-TV in Philadelphia; WWOR-TV in New York City (WWOR's superstation status also gave the program further national exposure); KTLA in Los Angeles; WMAQ-TV in Chicago; WDIV in Detroit; WEWS in Cleveland; WTMJ-TV in Milwaukee; and WCIX in Miami.


title: American Bandstand

text: The first syndicated episode aired on the weekend of September 19, 1987 but this run was short-lived; "The New American Bandstand" ran until the weekend of June 4, 1988.


title: American Bandstand

text: After a ten-month hiatus, "Bandstand" moved to cable on USA Network on April 8, 1989, with comedian David Hirsch taking over hosting duties. In another format shift, it was shot outdoors at Universal Studios Hollywood. Clark remained as executive producer. This version was canceled after 26 weeks, and its final show (with The Cover Girls performing "My Heart Skips a Beat" and "We Can't Go Wrong") aired on October 7, 1989, thus ending the show's 37-year run.


title: American Bandstand

text: With "American Bandstand" being originally located in Philadelphia, segregation easily affected the concentrated area. "With "Bandstand", WFIL resolved this tension by drawing on Philadelphia's interracial music scene to create an entertaining and profitable television show, while refusing to allow the city's black teenagers into the studio audience for fear of alienating viewers and advertisers. Like the white homeowners associations' concerns about property values, WFIL's version of defensive localism built on a belief that integration would hurt the station's investment in "Bandstand"." WFIL defended these local associations in order to maintain support.


title: American Bandstand

text: Once the program went national upon its move to Los Angeles, new host Dick Clark decided that integration was the most responsible move. History goes back and forth with the timing and motives of the integration, but nevertheless, "American Bandstand" socially impacted teenagers' opinions regarding race.


title: American Bandstand

text: On May 3, 2002, Dick Clark hosted a one-off special 50th anniversary edition on ABC. Michael Jackson, a frequent "Bandstand" guest, performed


title: American Bandstand

text: "Dangerous". The Village People performed their legendary song, "YMCA" for the audience in Pasadena, California. Other performers including Brandy, members of KISS, Dennis Quaid and his band The Sharks, Cher, and Stevie Wonder also performed to remember the iconic program.


title: American Bandstand

text: In 2004, Dick Clark, with the help of Ryan Seacrest, announced plans to revive the show in time for the 2005 season; although this did not occur (due in part to Clark suffering a severe stroke in late 2004), one segment of the revived "Bandstand"—a national dance contest—eventually became the series "So You Think You Can Dance". Dick Clark Productions is credited as the show's co-producer, and longtime employee Allen Shapiro serves as co-executive producer. While the American series has aired sixteen seasons, its format was also replicated worldwide, from Norway ("Dansefeber") to Australia ("So You Think You Can Dance Australia").


title: American Bandstand

text: "American Bandstand" played a crucial role in introducing Americans to such famous artists as Prince, Jackson 5, Sonny and Cher, Aerosmith, and John Lydon's PiL—all of whom made their American TV debuts on the show. "American Bandstand" was a daily ritual for many teenagers throughout the nation. The Top 40 hits that everyone heard were matched with fun routines performed by relatable teenagers. It became a staple in homes and heavily influenced American society culturally, musically, and socially. It also was a prototype for musical television properties including cable channel MTV and Fox's reality-competition show "American Idol".


title: From the Earth to the Moon

text: From the Earth to the Moon: A Direct Route in 97 Hours, 20 Minutes () is an 1865 novel by Jules Verne. It tells the story of the Baltimore Gun Club, a post-American Civil War society of weapons enthusiasts, and their attempts to build an enormous Columbiad space gun and launch three people—the Gun Club's president, his Philadelphian armor-making rival, and a French poet—in a projectile with the goal of a Moon landing. Five years later, Verne wrote a sequel called "Around the Moon".


title: From the Earth to the Moon

text: The story is also notable in that Verne attempted to do some rough calculations as to the requirements for the cannon and in that, considering the comparative lack of empirical data on the subject at the time, some of his figures are remarkably accurate. However, his version of a space gun for a non-rocket spacelaunch turned out to be impractical for safe human space travel since a much longer barrel would have been required to reach escape velocity while limiting acceleration to survivable limits for the passengers.


title: From the Earth to the Moon

text: The character of Michel Ardan, the French member of the party in the novel, was inspired by the real-life photographer Félix Nadar.


title: From the Earth to the Moon

text: The story opens some time after the end of the American Civil War. The Baltimore Gun Club, a society dedicated to the design of weapons of all kinds (especially cannons), comes together when Impey Barbicane, its president, calls them to support his latest idea. He's done some calculations, and believes that they could construct a cannon capable of shooting a projectile to the Moon. After receiving the support of his companions, another meeting is held to decide the place from which the projectile will be fired, the dimensions and materials of both the cannon and the projectile, and which kind of powder they are to use.


title: From the Earth to the Moon

text: An old enemy of Barbicane, a Captain Nicholl of Philadelphia, designer of plate armor, declares that the entire enterprise is absurd and makes a series of bets with Barbicane, each of them of increasing amount, over the impossibility of such a feat.


title: From the Earth to the Moon

text: The first obstacle, enough money to construct the giant cannon (and against which Nicholl has bet $1,000), is raised from a number of countries in America and Europe. Notably, the U.S. donates four million dollars, whilst England, at first, does not give anything. In the end, nearly five and a half million dollars are raised, which ensures the financial feasibility of the project.


title: From the Earth to the Moon

text: Stone's Hill in "Tampa Town", Florida is chosen as the site for the cannon's construction. The Gun Club travels there and begins construction of the Columbiad cannon, which requires the excavation of a and circular hole, which is completed in the nick of time, but a surprise awaits Barbicane: Michel Ardan, a French adventurer, plans to travel to the moon aboard the projectile.


title: From the Earth to the Moon

text: During a meeting between Ardan, the Gun Club, and the inhabitants of Florida, Nicholl appears and challenges Barbicane to a duel. The duel is stopped when Ardan—having been warned by J. T. Maston, secretary of the Gun Club—meets the rivals in the forest where they have agreed to duel. Meanwhile, Barbicane finds the solution to the problem of surviving the incredible acceleration that the explosion would cause. Ardan suggests that Barbicane and Nicholl travel with him in the projectile, and his proposition is accepted.


title: From the Earth to the Moon

text: In the end, the projectile is successfully launched, but the destinies of the three astronauts are left inconclusive. The sequel, "Around the Moon", deals with what happens to the three men during their voyage from the Earth to the Moon.


title: From the Earth to the Moon

text: In 1880 "The Pall Mall Gazette" described Verne’s "Columbiad" as a ‘space-ship’ - the first recorded use of this term in history.


title: From the Earth to the Moon

text: In H. G. Wells' 1901 novel "The First Men in the Moon" (also relating to the first voyagers to the Moon) the protagonist, Mr. Bedford, mentions Verne's novel to his companion, Professor Cavor, who replies (in a possible dig at Verne) that he does not know what Bedford is referring to. Verne returned the dig later when he pointed out that he used gun cotton to send his men to the Moon, an actual substance. "Can Mr. Wells show me some 'cavourite'?", he asked archly.


title: From the Earth to the Moon

text: The novel (along with Wells' "The First Men in the Moon") inspired the first science fiction film, "A Trip to the Moon", made in 1902 by Georges Méliès. In 1958, another film adaptation of this story was released, titled "From the Earth to the Moon". It was one of the last films made under the RKO Pictures banner. The story also became the basis for the very loose adaptation "Jules Verne's Rocket to the Moon" (1967), a caper-style British comedy starring Burl Ives and Terry-Thomas. The 1961 Czechoslovak film "The Fabulous Baron Munchausen" combines characters and plot elements from the Verne novel with those of the stories of Baron Munchausen and Cyrano de Bergerac.


title: From the Earth to the Moon

text: In 1889 Verne wrote a second sequel to the novel, "The Purchase of the North Pole", which has the Gun Club members (led by J. T. Maston) plan to use the Columbiad to alter the tilt of the Earth to enable the mineral wealth of the Arctic region to be put within reach of exploitation.


title: From the Earth to the Moon

text: In March 1953, the Gilberton Company published a comic-book adaptation of "From the Earth to the Moon" as issue No. 105 in its "Classics Illustrated" series. An unidentified scriptwriter combined Verne's "From the Earth to the Moon" with the sequel, "Around the Moon". Gilberton art director Alex A. Blum supplied both the cover painting and the 44 pages of interior art. The title went through twelve printings between 1953 and 1971.


title: From the Earth to the Moon

text: During their return journey from the Moon, the crew of Apollo 11 made reference to Jules Verne's book during a TV broadcast on 23 July. The mission's commander, astronaut Neil Armstrong, said, "A hundred years ago, Jules Verne wrote a book about a voyage to the Moon. His spaceship, Columbia , took off from Florida and landed in the Pacific Ocean after completing a trip to the Moon. It seems appropriate to us to share with you some of the reflections of the crew as the modern-day Columbia completes its rendezvous with the planet Earth and the same Pacific Ocean tomorrow."


title: From the Earth to the Moon

text: In "Back to the Future Part III", Clara Clayton in 1885 asks Emmett Brown if he believes mankind will ever "travel to the Moon the way we travel across the country on trains". Being from the future, Brown already knows that doesn't happen for another 84 years, but he affirms they will while inadvertently quoting a passage of "From the Earth to the Moon". Clara calls him out on this, and it's from this encounter that the pair discovers their mutual love of Jules Verne novels.


title: From the Earth to the Moon

text: 100 years after the sequel, 1989's A Grand Day Out chronicles a trip to the moon by Wallace and Gromit, an inventor and his dog, which was a homage to the Jules Verne story.


title: From the Earth to the Moon

text: The novel and its sequel were the inspiration for the 2005 point-and-click adventure computer game "".


title: From the Earth to the Moon

text: In the 2010 "The Quantum Thief" trilogy, the protagonist enters an uneasy alliance with the "Gun Club zoku", who specialize in military weaponry, and in "The Causal Angel" (2014) after escaping Earth using a nuclear powered space gun, sells the "Verne gun bullet" to them as a unique collectible item; author Hannu Rajaniemi is a fan of Verne.


title: From the Earth to the Moon

text: The Japanese anime adaption of the "Space Brothers" (2012-2014) opening for episodes 39-51 ("Small World" by Fujifabric) was a parody of the story, even ending with the cover of an early English translation.


title: From the Earth to the Moon

text: The Japanese otome visual novel, "" (2014), features a datable engineer named Impey Barbicane. Impey's goal is to build the technology to reach the moon, reflecting the story of the novel.


title: From the Earth to the Moon

text: In season two of "The Umbrella Academy (TV series)", the character Ray gives Allison a copy of the book as an anniversary gift. Later she leaves a note for him in the same copy of the book.


title: From the Earth to the Moon

text: The first incarnation of the roller coaster Space Mountain in Disneyland Paris, named "Space Mountain: De la Terre à la Lune", was based loosely on this novel. The attraction opened in 1995. The attraction's exterior was designed using a Verne era retro-futuristic influence. Elements of the ambiance include rivet and boiler plate effect and the "Columbiad", which recoils with a bang and produces smoke as the train passes, giving riders the perception of being shot into space. During 2005, the ride was refurbished and renamed "" as part of the Happiest Celebration on Earth. After this, the ride no longer featured elements of the original storyline from the novel, as it was opened again in 2017 with Star Wars theme.


title: From the Earth to the Moon

text: In 1995 the BBC made a documentary about the creation of Space Mountain, called "Shoot For The Moon". The 44-minute program followed Tim Delaney and his team in bringing the book "From the Earth to the Moon" by Jules Verne to life. The program shows the development of the attraction, from conception to construction to testing the final attraction. The documentary, originally broadcast on BBC Two in the United Kingdom, was also aired on other channels in many countries.


title: From the Earth to the Moon

text: In 2013, a new film version of the story was announced, under the banner of Project Epicus—a film project—with the full blessing of Jules Verne's great-grandson Jean Verne that began production in 2017.


title: Peter Benchley

text: Peter Bradford Benchley (May 8, 1940 – February 11, 2006) was an American author, screenwriter, and ocean activist. He is known for his bestselling novel "Jaws" and co-wrote its film adaptation with Carl Gottlieb. Several more of his works were also adapted for both cinema and television, including "The Deep", "The Island", "Beast", and "White Shark."


title: Peter Benchley

text: Later in life, Benchley expressed some regret for his tone in writing about sharks, which he felt indulged already present fear and false belief about sharks, and he became an advocate for marine conservation. Contrary to widespread rumor, Benchley did not believe that his writings contributed to shark depopulation, nor is there evidence that "Jaws" or any of his works did so.


title: Peter Benchley

text: Benchley was the son of Marjorie (née Bradford) and author Nathaniel Benchley and grandson of Algonquin Round Table founder Robert Benchley. His younger brother, Nat Benchley, is a writer and actor. Peter Benchley was an alumnus of the Allen-Stevenson School, Phillips Exeter Academy and Harvard University.


title: Peter Benchley

text: After graduating from college in 1961, Benchley travelled around the world for a year. The experience was told in his first book, a travel memoir titled "Time and a Ticket", published by Houghton Mifflin in 1964. Following his return to America, Benchley spent six months reserve duty in the Marine Corps, and then became a reporter for "The Washington Post". While dining at an inn in Nantucket, Benchley met Winifred "Wendy" Wesson, whom he dated and then married the following year, 1964. By then Benchley was in New York, working as television editor for "Newsweek". In 1967 he became a speechwriter in the White House for President Lyndon B. Johnson, and saw the birth of his daughter Tracy.


title: Peter Benchley

text: Once Johnson's term ended in 1969, the Benchleys moved out of Washington, and lived in various houses, including an island off Stonington, Connecticut where son Clayton was born in 1969. Benchley wanted to be near New York, and the family eventually got a house at Pennington, New Jersey in 1970. Since his home had no space for an office, Benchley rented a room above a furnace supply company.


title: Peter Benchley

text: By 1971, Benchley was doing various freelance jobs in his struggle to support his wife and children. During this period, when Benchley would later declare he was "making one final attempt to stay alive as a writer", his literary agent arranged meetings with publishers. Benchley would frequently pitch two ideas, a non-fiction book about pirates, and a novel depicting a man-eating shark terrorizing a community. This idea had been developed by Benchley since he had read a news report of a fisherman catching a great white shark off the coast of Long Island in 1964. The shark novel eventually attracted Doubleday editor Thomas Congdon, who offered Benchley an advance of $1,000 leading to the novelist submitting the first 100 pages. Much of the work had to be rewritten as the publisher was not happy with the initial tone. Benchley worked by winter in his Pennington office, and in the summer in a converted chicken coop in the Wessons' farm in Stonington. The idea was inspired by the several great white sharks caught in the 1960s off Long Island and Block Island by the Montauk charterboat captain Frank Mundus.


title: Peter Benchley

text: "Jaws" was published in 1974 and became a great success, staying on the bestseller list for 44 weeks. Steven Spielberg, who would direct the film version of "Jaws", has said that he initially found many of the characters unsympathetic and wanted the shark to win. Book critics such as Michael A. Rogers of "Rolling Stone" shared the sentiment but the book struck a chord with readers.


title: Peter Benchley

text: Benchley co-wrote the screenplay with Carl Gottlieb (along with the uncredited Howard Sackler and John Milius, who provided the first draft of a monologue about the USS "Indianapolis") for the Spielberg film released in 1975. Benchley made a cameo appearance as a news reporter on the beach. The film, starring Roy Scheider, Robert Shaw, and Richard Dreyfuss, was released in the summer season, traditionally considered to be the graveyard season for films. However, Universal Studios decided to break tradition by releasing the film with extensive television advertising. It eventually grossed over $470 million worldwide. George Lucas used a similar strategy in 1977 for "Star Wars" which broke the box office records set by "Jaws", and hence the summer blockbuster was born.


title: Peter Benchley

text: Benchley estimated that he earned enough from book sales, film rights and magazine/book club syndication to be able to work independently as a film writer for ten years.


title: Peter Benchley

text: His second novel, "The Deep", published in 1976, emerged after Benchley's chance meeting in Bermuda with diver Teddy Tucker while writing a story for "National Geographic". Benchley visited the wreck of the "Constellation" which he described as having sunk on top of two other wrecks the "Montana" and the "Lartington". This gave Benchley the idea of a honeymooning couple discovering two sunken treasures on the Bermuda reefs — 17th century Spanish gold and a fortune in World War II-era morphine — and who are subsequently targeted by a drug syndicate. Benchley co-wrote the screenplay for the 1977 film release, along with Tracy Keenan Wynn and an uncredited Tom Mankiewicz. Directed by Peter Yates and starring Robert Shaw, Nick Nolte and Jacqueline Bisset, "The Deep" was a box office success, and one of the top 10 highest-grossing films in the US in 1977, though its box office tally fell well short of "Jaws". However, the film inspired a number of technical firsts and was a Best Sound nominee at the 1978 Oscars.


title: Peter Benchley

text: "The Island", published in 1979, was a story of descendants of 17th-century pirates who terrorize pleasure craft in the Caribbean, leading to the Bermuda Triangle mystery. Benchley again wrote the screenplay for the film adaptation. But the film version of "The Island", starring Michael Caine and co-starring David Warner, failed at the box office when released in 1980.


title: Peter Benchley

text: During the 1980s, Benchley wrote three novels that did not sell as well as his previous works. However, among them was "Girl of the Sea of Cortez", a fable influenced by John Steinbeck's The Log from the Sea of Cortez. Benchley's novel about a girl's complicated relationship with the sea, was his best-reviewed book and has attracted a considerable cult following since its publication. "Sea of Cortez" signposted Benchley's growing interest in ecological issues and anticipated his future role as an impassioned advocate of the importance of protecting the marine environment. "Q Clearance", published in 1986, was written from his experience as a staffer in the Johnson White House. "Rummies" (also known as "Lush"), which appeared in 1989, is a semi-autobiographical work, loosely inspired by the Benchley family's history of alcohol abuse. While the first half of the novel is a relatively straightforward account of a suburbanite's descent into alcoholic hell, the second part, which takes place at a New Mexico substance abuse clinic, is written as a thriller.


title: Peter Benchley

text: He returned to nautical themes in 1991's "Beast" written about a giant squid threatening Bermuda. "Beast" was brought to the small screen as a made-for-television film in 1996, under the title "The Beast". His next novel, "White Shark", was published in 1994. The story of a Nazi-created genetically engineered shark/human hybrid, it failed to achieve popular or critical success. It was also turned into a made-for-television film titled "Creature", with Christopher Lehmann-Haupt of the "New York Times" saying it "looks more like Arnold Schwarzenegger than any fish". Also in 1994, Benchley became the first person to host Discovery Channel's Shark Week.


title: Peter Benchley

text: In 1999, the television show "Peter Benchley's Amazon" was created, about a group of plane crash survivors in the middle of a vast jungle.


title: Peter Benchley

text: In the last decade of his career, Benchley wrote non-fiction works about the sea and about sharks advocating their conservation. Among these was his book entitled "Shark Trouble", which illustrated how hype and news sensationalism can help undermine the public's need to understand marine ecosystems and the potential negative consequences as humans interact with it. This work, which had editions in 2001 and 2003, was written to help a post-"Jaws" public to more fully understand "the sea in all its beauty, mystery and power." It details the ways in which man seems to have become more of an aggressor in his relationship with sharks, acting out of ignorance and greed as several of the species become increasingly threatened by overfishing.


title: Peter Benchley

text: Benchley was a member of the National Council of Environmental Defense and a spokesman for its Oceans Program: "[T]he shark in an updated "Jaws" could not be the villain; it would have to be written as the victim; for, worldwide, sharks are much more the oppressed than the oppressors."


title: Peter Benchley

text: He was also one of the founding board members of the Bermuda Underwater Exploration Institute (BUEI).


title: Peter Benchley

text: In light of Peter Benchley's lifelong record of shark conservation and educating the public about sharks, the Peter Benchley Ocean Awards have been instituted by Wendy Benchley and David Helvarg as his legacy.


title: Peter Benchley

text: In 2015, researchers confirmed a new species of lanternshark had been found off the Pacific coast of South America, naming it "Etmopterus benchleyi". Lead researcher Vicki Vásquez noted the author's work in promoting ocean conservation, particularly sharks, as motivation.


title: The Good Girl

text: The Good Girl is a 2002 American comedy-drama film directed by Miguel Arteta from a script by Mike White. The film stars Jennifer Aniston, Jake Gyllenhaal and John C. Reilly.


title: The Good Girl

text: "The Good Girl" premiered at the 2002 Sundance Film Festival, and released to theatres on August 7, 2002, in the United States.


title: The Good Girl

text: Justine Last is a depressed thirty-year-old woman living in small town Texas with her husband Phil, a house painter who spends most of his free time smoking marijuana with his best friend, Bubba. Phil wants to start a family with Justine but she is not yet ready. Justine works at Retail Rodeo, the local big-box store, with cynical and young Cheryl, ditzy and older Gwen in cosmetics, and security guard Corny.


title: The Good Girl

text: Young, shy Holden is hired as a cashier at work and Justine introduces herself. They start to spend time together, and she confides in him that she feels underappreciated at home. Holden tells Justine about his obsession with J. D. Salinger's novel, "The Catcher in the Rye", hence his self-assigned first name, Holden Caulfield.


title: The Good Girl

text: Holden becomes smitten with Justine, but when he makes a move on her, she rejects him. He writes her a letter in which he says if she does not meet him at 5 p.m. that day, she will never see him again. Though Justine is hesitant at first, she gives in and meets up with Holden at a motel where they have sex.


title: The Good Girl

text: Justine's marriage deteriorates as her affair with Holden continues. One night, she spots Bubba's truck in the motel parking lot. Convinced he knows, she tells Holden they must stop for awhile. At home, Bubba alludes to her affair. Feeling guilty, Justine suggests to Phil that they attend a church bible study Corny invited them to. Soon after arriving, Justine spots the motel desk clerk, and insists they leave immediately.


title: The Good Girl

text: Justine speaks to Holden in private at work the following day, explaining she can't see him anymore. Bubba invites Justine to his house and blackmails her into having sex with him. Holden, who was following Justine, sees them through a window.


title: The Good Girl

text: Holden does not show at work the next day but is drunkenly waiting in Justine's car when her shift ends. He calls her a whore and demands an apology, offering to kill her husband to free her from her marriage. Justine then becomes desperate to extricate herself from their relationship. Talking to his parents, she tells them he is mentally ill, has imagined a romantic liaison between them and suggests Holden be hospitalized. That night after feeling unwell all day, Justine takes a pregnancy test. The results come up positive; Phil is overjoyed but Justine feels uneasy as she doesn't know who the father is.


title: The Good Girl

text: The following day at work, $15,000 is suspected stolen by Holden. Justine is then interrogated by her boss Jack about their relationship. Holden later brags about the stolen money to her and his plans for them to run away. He tells her to meet him the following morning at a hotel. When Justine gets home, Phil, Bubba, and Bubba's new girlfriend are all waiting to celebrate the baby news. A doctor phones Phil to tell him that his sperm, recently tested for fertility, is "no good". Confused, he protests to the doctor that his wife is pregnant and hangs up. Bubba assures Phil the doctors made a mistake and that "they don't know everything". Phil then asks aloud if this means Justine isn't pregnant.


title: The Good Girl

text: The next morning, Justine packs a suitcase. Waiting at a traffic light, she assesses whether she should stay or run away with Holden. At Retail Rodeo she tells her manager where Holden is hiding. Later at home, she watches a news report announcing the police have surrounded Holden at the hotel in a standoff that results in his suicide. The next day, Bubba tells Justine that Phil saw the motel room on the credit card statement, and then begs her not to tell Phil about their encounter.


title: The Good Girl

text: When Justine arrives home, Phil tearfully asks if she has been having an affair. When she says, "yes", he strikes her. Phil expresses remorse at hitting her and asks if the baby is his. Wanting to spare Phil any more pain and to protect herself, Justine assures him he is the father. Phil still insists on knowing who she had an affair with, and when he asks if it was with Corny the security guard, Justine lies and says yes. At work the next morning, Corny has a bruised face and his arm in a cast. Cheryl informs Justine two guys with baseball bats and face masks beat him up.


title: The Good Girl

text: As the movie concludes, Justine still works at Retail Rodeo. In a narrated scene, Phil brings the newborn baby to Justine, who is deep in thought in bed. She lovingly holds the baby and the couple seems content.


title: The Good Girl

text: "The Good Girl" was well received by most critics. Review aggregator Rotten Tomatoes reports an 82% approval rating, based on reviews from 159 critics. The site's consensus reads, "A dark dramedy with exceptional performances from Jennifer Aniston and Jake Gyllenhaal, "The Good Girl" is a moving and astute look at the passions of two troubled souls in a small town." Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, calculated a "generally favorable" average score of 71, based on 35 reviews.


title: The Good Girl

text: Much critical praise went to Jennifer Aniston for her against-type performance. Ella Taylor of "LA Weekly" opined it is "especially gratifying to see her play a woman who's had it up to here with making nice, and making do." Critic James Berardinelli wrote, "Her performance is forceful and effective - she effortlessly submerges herself into the role, and, after only a moment's hesitation, Aniston has vanished and all that's left is lonely, trapped Justine."


title: The Good Girl

text: Elvis Mitchell of "The New York Times" wrote, "It's Ms. Aniston who surprises in "The Good Girl." In some ways she may feel as trapped as Justine by playing Rachel Green, the poor little rich daddy's girl of television's "Friends." She comes up with an inventively morose physicality for Justine: her arms hang at her sides as though shackled; they're not limp appendages but weighed down with unhappiness. The plucky dream girls she's played in movies like the underseen 1999 classic "Office Space" are expressive and given to anxious displays of hand waving. But here she articulates Justine's sad tales through a narration that's as affected and misery laden as Holden's ragged, ripped-off fiction."


title: The Good Girl

text: Writing for DVD Talk, Geoffrey Kleinman said, "There are two things which make "The Good Girl" work so well: the fantastic script by Mike White, which is smart, funny and honest, and the breakout performance by Jennifer Aniston who simply embodies her character. Whether or not you are a fan of Aniston, you'll appreciate a look at the real depth she has as an actress and I hope to see her in more films that challenge her as an actress."


title: The Good Girl

text: Roger Ebert gave the film three and a half stars and also praised Aniston's performance, and saying "The Good Girl" is an "independent film of satiric fire and emotional turmoil".


title: Charlotte Kirk

text: She was first recognised for her role in ‘Vice’, (Lionsgate 2016) a sci-fi thriller, opposite Bruce Willis and Thomas Jane. Charlotte has since completed eight feature films, including the female lead opposite Stephen Baldwin in film-noir comedy ‘No Panic with a Hint of Hysteria’ (Dir. Tomasz Szafranski), the female lead in psychological drama ‘The Depths’ (award winner at 7 film festivals), alongside appearances in ‘How To Be Single’ (Warner Bros 2017) and ‘Ocean’s 8’ (Dir. Gary Ross, Warner Bros. 2018)  starring opposite Sandra Bullock.


title: Charlotte Kirk

text: In 2018 Charlotte filmed on the controversial conspiracy drama "Nicole and O.J." (Dir. Joshua Newton) in which she plays the title role of Nicole Brown Simpson.


title: Charlotte Kirk

text: Charlotte next co-wrote, produced & starred in "The Reckoning", directed by Neil Marshall. Charlotte won multiple awards for her intense dramatic performance as Grace Haverstock, a woman accused of Witchcraft in 18 century England during the Great Plague. Critics noted the movie being alarmingly prescient with its themes of witch-hunts, toxic masculinity, religious fervour cancel culture and its setting of a viral pandemic. The movie was shot in the summer of 2019 in Budapest, Hungary and released theatrically around the world throughout 2020. It placed No2 in theatre’s and No1 on iTunes during its opening weekend.


title: Charlotte Kirk

text: In 2021, Charlotte starred in, co-wrote and co-produced the action horror movie The Lair directed by Neil Marshall, released in US in October 2022 and in the UK in January 2023.


title: Charlotte Kirk

text: The Lair has it’s world premiere in London’s prestigious Leicester Square IMAX as the opening night gala presentation at 2022’s Fright fest Film Festival Upon it’s North American release in October 2022, the film soared straight into No 5 in the US film ratings. Most recently, in the summer of 2022 Charlotte completed filming on the action crime thriller Duchess, which she co-wrote, produced and plays the title role.


title: Charlotte Kirk

text: Charlotte Kirk was born in Sidcup, Kent in 1992. The youngest daughter of Angela and Arthur Kirk, since divorced. As a young girl, she was diagnosed with Dyslexia and Asperger syndrome.


title: Charlotte Kirk

text: Her passion for acting began at the age of 11 when she saw Gone With The Wind starring the late Clark Gable, promptly falling in love with both the silver screen and stage alike.


title: Charlotte Kirk

text: Taking her first steps in theatre (aged nine), she performed in Greek tragedies 'Agamemnon' and 'Arturo Ui', following hot on the heels with West End musical theatre productions of 'A Christmas Carol', 'Oliver Twist and 'Hairspray'. having attended the prestigious Italia Conti School of Acting in London, her skills were further refined by training with Jigsaw Performing Arts in the UK and renowned method acting coaches Susan Batson and Lee Strasberg in New York City.


title: Charlotte Kirk

text: Having grown up in South East London, Charlotte moved to the US in her early 20’s to pursue her career; first to New York, then to Los Angeles, where she spent the next 10 years. It was while living in LA that Charlotte first met film and television director Neil Marshall. They began dating in 2018 and got engaged in late 2019.


title: Charlotte Kirk

text: Kirk now lives with Neil Marshall in England having returned to the UK in 2021 to focus on creating her own projects with Neil. Together they formed Scarlett Productions Ltd. and have several feature film projects currently in development and production.


title: Charlotte Kirk

text: Charlotte enjoys singing and has released two music videos 'Eyes in Love' and 'I Get the Feeling Again’ and performed the end title track for 'No Panic with a Hint of Hysteria'.


title: Charlotte Kirk

text: Charlotte has also appeared on multiple magazine covers, including LA Magazine, and will appear on the cover of Harper’s Bazaar in February 2023.


title: Charlotte Kirk

text: She is a passionate advocate of animal rights and has a King Charles Cavalier called Molly Prior, named after a character in The Reckoning.


title: Charlotte Kirk

text: Charlotte Kirk has been called “a force to be reckoned with”; a rising star in the movie business, both in front and behind the camera, following in the footsteps of other famous leading female British actors, Kates (Winslet) & (Beckinsale) Charlotte is being heralded as the hottest UK export since Elizabeth Taylor.


title: Charlotte Kirk

text: Not one to be put in the corner with propaganda fuelled by LA Movie mogul bosses covering their tracks - Charlotte took on and exposed two of the most powerful and corrupt CEOs in Hollywood.


title: Martha Jefferson Randolph

text: Martha "Patsy" Randolph ("née" Jefferson; September 27, 1772 – October 10, 1836) was the eldest daughter of Thomas Jefferson, the third president of the United States, and his wife, Martha Wayles Skelton Jefferson. She was born at Monticello, near Charlottesville, Virginia.


title: Martha Jefferson Randolph

text: Her mother died when she was 10 years old, when only two out of her five siblings were alive. By 1804, she was the lone surviving sibling. Martha was very close to her father in his old age. She was the only one of his children with his wife Martha to survive past the age of 25. Patsy had a close relationship with her father, who saw that she had a good education. She spoke four languages and was greatly influenced by the education she received in a Paris convent school with daughters of the French elite.


title: Martha Jefferson Randolph

text: She married Thomas Mann Randolph Jr., who was a politician at the federal and state levels and was elected as governor of Virginia (1819–1822), which made her the first lady of Virginia. They had twelve children together. When her widowed father was US president, she sometimes lived with him at the White House, serving as his hostess and informal First Lady.


title: Martha Jefferson Randolph

text: Martha Jefferson was born on September 27, 1772, at Monticello, her father's estate in Virginia (then in British America) to Thomas Jefferson and Martha Wayles Skelton. Her paternal grandparents were Peter Jefferson, a planter and surveyor, and Jane Randolph. Her maternal grandparents were John Wayles (1715–1773) and his first wife, Martha Eppes (1712–1748). Wayles was an attorney, slave trader, business agent for Bristol-based merchants Farrell & Jones, and prosperous planter.


title: Martha Jefferson Randolph

text: During her parents' ten years of marriage, they had six children. Randolph was their first born. She was followed by Jane Randolph (1774–1775); a son who lived for only a few weeks in 1777; Mary "Polly" (1778–1804); Lucy Elizabeth (1780–1781); and another Lucy Elizabeth (1782–1784). Only Martha and Mary survived more than a few years.


title: Martha Jefferson Randolph

text: The family lived a genteel lifestyle and Randolph was initially schooled at home. Her studies included dance lessons. When she was seven years of age, her father became the governor of Virginia. He was elected on June 1, 1779, and the family first lived in Williamsburg. The government moved to Richmond in 1780 and the family relocated there. British troops advanced to Richmond in May 1781 and, due to advance warning, the Jeffersons escaped to their country home, Poplar Forest.


title: Martha Jefferson Randolph

text: Her mother died on September 6, 1782, four months after the birth of the Jeffersons' last child, at age 33. She later wrote about this period and her father's grief, stating "in those melancholy rambles I was his constant companion, a solitary witness to many a violent burst of grief." Randolph was 10 years of age when her mother died.


title: Martha Jefferson Randolph

text: Randolph's father did not believe in public education for girls, but arranged for his daughter to receive a private education. Between December 1782 and May 1784, she boarded with a family and studied French, dancing, drawing, and music with private tutors, who received prescribed, strict daily schedules and instructions regarding how her education should be conducted by Thomas Jefferson. He was particularly focused on cleanliness and spelling, both of which were important to create the image of a proper lady with moral behavior and diction. In the meantime, her father worked in Philadelphia and awaited Congressional orders to go to France.


title: Martha Jefferson Randolph

text: Her younger sisters, Mary and Lucy Elizabeth, remained in Virginia with family members as Randolph and her father traveled to Boston with James Hemings. They set sail for Paris on the ship "Ceres" on July 5, 1784, and arrived in France on August 6, 1784. Randolph lived in Paris with her father from age 12 to 17 while he served as U.S. Minister to France. Jefferson enrolled her at the Pentemont Abbey, an exclusive convent school, after receiving assurances that Protestant students were exempt from religious instruction. At this boarding school Randolph learned arithmetic, geography, world history, and Latin, as well as music and drawing. Randolph was deeply influenced by the four years at the convent school. Her peers were the French elite who provide a model of "female intelligence, capacity, and energy" and experienced the "rich pageantry of Roman Catholic liturgies". It gave her the ability to conduct witty, intelligent conversation and how she viewed how she would manage the education of her children. Over the course of her studies, Randolph learned to speak four languages.


title: Martha Jefferson Randolph

text: In October 1784, her youngest sister, Lucy, died of whooping cough. Mary traveled with Sally Hemings to Paris and joined her sister at the convent school in July 1787. Randolph and her sister Mary contracted typhus during the winter of 1788 and lived with their father until they regained their health. They returned to the convent in spring of 1789. After Randolph expressed a desire to convert to Catholicism and said she was considering religious orders, Jefferson quickly withdrew her and her younger sister Polly from the school. Randolph enjoyed a social life that included balls and concerts during the summer. At her father's residence in Paris, she talked with world leaders. In September 1789, after the beginning of the French Revolution, Thomas Jefferson, his daughters, and James and Sally Hemings sailed for home.


title: Martha Jefferson Randolph

text: On February 23, 1790, she married Thomas Mann Randolph Jr., a planter, at Monticello, a descendant of Pocahontas. He was her third cousin. Soon after their marriage, her father, Thomas Jefferson, deeded eight slaves from Monticello as a wedding gift, including Molly Hemings, the eldest daughter of Mary Hemings.


title: Martha Jefferson Randolph

text: The couple first lived at Randolph's estate, Varina, in Henrico County and Martha had twelve children. She had more children than any daughter of a President. In contrast to her parents and sister, each of whom had most of their children die in childhood, eleven of the Randolphs' children survived to adulthood:


title: Martha Jefferson Randolph

text: Randolph managed the household affairs at Varina and her father's estate at Monticello in the 1790s. Her husband, the son of Thomas Jefferson's friend Thomas Mann Randolph Sr., was in many ways a good candidate as her husband, but his family was subject to scandal. Some of the Randolphs were accused but later acquitted of killing a child believed to have been fathered by Richard Randolph. Randolph was a witness in the case of Commonwealth v. Richard Randolph on April 22, 1793. In addition, her father-in-law created a scandal when he married a teenager.


title: Martha Jefferson Randolph

text: Thomas Jefferson sold the couple land for the Edge Hill plantation so that they could be nearer to him at Monticello in Albemarle County. They built a house and resided there beginning in January 1800. Randolph managed the affairs at both Varina and Monticello. Randolph educated her children at home.


title: Martha Jefferson Randolph

text: Randolph and her children lived primarily at Monticello after Thomas Jefferson's retirement in 1809. While her husband was the governor of Virginia from 1819 to 1822, she continued to live at Monticello. This was done partly to save money. She managed the household activities at the plantation. She had her own room at Monticello where she was generally on her own. Her husband visited Monticello at times. Concerned about the family's finances and loss of income if her husband served in the military during the War of 1812, Randolph convinced President James Monroe to give him a more lucrative, temporary tax collectorship post.


title: Martha Jefferson Randolph

text: With three of her children—Mary, Cornelia, and Thomas—she edited the first collection of Jefferson's writings for publication. She worked at spreading untrue claims that denied his paternity of the Hemings children and that would put her father in the best light.


title: Martha Jefferson Randolph

text: Randolph devoted much of her life to her father's declining years. She had separated from her husband, who was said to suffer from alcoholism and mental instability. Jefferson describes her as the "cherished companion of his youth and the nurse of his old age". Shortly before his death, he said that the "last pang of life was parting with her."


title: Martha Jefferson Randolph

text: Randolph made several visits to the White House (then known as the President's House) when her father was president. During her visits from November 1802 to January 1803 (with her sister and two of her children) and 1805–1806 (with her entire family), she served as his hostess and informal first lady by organizing Jefferson's social schedule and welcoming guests at receptions held by her father. Author Catherine Allgor notes that she was her father's confidante and well respected in Washington. Known for her intelligence and role in the social ladder, "whenever she was in the capital, Mrs. Randolph became the head of whatever occasion she attended. No matter what the social skirmish, no one disputed her right of precedence." During that period, from 1803 to 1807, her husband served in the House of Representatives in Washington, D.C.


title: Martha Jefferson Randolph

text: In the 1982 Siena College Research Institute asking historians to assess American first ladies, Randolph and several other "acting" first ladies were included. The first ladies survey, which has been conducted periodically since, ranks first ladies according to a cumulative score on the independent criteria of their background, value to the country, intelligence, courage, accomplishments, integrity, leadership, being their own women, public image, and value to the president. In the 1982 survey, out of 42 first ladies and "acting" first ladies, Randolph was assessed as the 18th most highly regarded among historians. Acting first ladies such as Randolph have been excluded from subsequent iterations of this survey.


title: Martha Jefferson Randolph

text: Randolph's sister, Mary "Polly", was also a hostess at times, until she died in 1804 during childbirth. Politically attuned Dolley Madison often performed hostess duties for Jefferson. Her husband, James Madison, was then the Secretary of State and she lived in Washington, D.C. Randolph's eighth child, James Madison Randolph, was born at the President's house on January 17, 1806. Randolph has a calming presence and helped divert attention from the rumors of Jefferson's relationship with Sally Hemings. A visitor said that she provided "the best refutation of all the calumnies that have been heaped upon him."


title: Martha Jefferson Randolph

text: When Randolph lived in Paris, she learned that there were countries where enslaving people was not legal and said to her father, "I wish with all my soul that the poor Negroes were all freed". She also said, in keeping with the sentiments of her father, that she "detested" the unjust treatment of blacks, and the way that it fostered cruelty in whites. She attempted to keep enslaved people with their families when she could, and freed some slaves, but she kept many that she was forced to sell by creditors to settle outstanding debts. For instance, in 1827, after her father's death, she sold 130 slaves. As a result, families were separated. The remaining enslaved people were her most valuable assets, and she hired them out when she could for income. She sold two more slaves in 1833. She also punished enslaved people who did not do what she wanted, sometimes physically. In 1833 Randolph's daughter Cornelia described an instance where she held a woman down while her mother whipped her, inflicting the flagellation "pretty severely."


title: Martha Jefferson Randolph

text: Her son Thomas unsuccessfully lobbied for a plan for Virginia to abolish slavery gradually and colonize slaves in Africa in 1831, a proposal that Randolph supported. She also considered moving to a free state. Although she gave several enslaved people their freedom in her wills, she relied on their efforts throughout her life.


title: Martha Jefferson Randolph

text: Randolph dealt with the strain of financial concerns over the debts of her husband, her father-in-law Thomas Mann Randolph Sr., and her father upon their deaths. They became indebted due to declining land values, risky investments, failed crops and needy relatives. In 1826, her son Thomas purchased the Edge Hill estate. Thomas Jefferson died of uremia on July 4, 1826. He was 83 years old. After his death, she inherited Monticello from her father in 1826, as well as his many debts. Her eldest son Thomas Randolph acted as executor of the estate. Except for five slaves freed in her father's will, and "giving her time" (informal emancipation) to Sally Hemings, they sold the remainder of the 130 slaves at Monticello to try to settle the debts.


title: Martha Jefferson Randolph

text: After Jefferson's death, Randolph lived with Thomas, her eldest son, at Tufton. She stayed at the home of her daughter Ellen and son-in-law Joseph Coolidge in Boston from October 1826 to May 1828. She had her two youngest children with her. She then went to her husband in June 1828 and was at his bedside when he died on the 20th of that month.


title: Martha Jefferson Randolph

text: By this point, she was "living on the edge of poverty". Wanting to ensure successful careers for her family, which included her sons-in-law, she looked to Margaret Bayard Smith, who helped family members procure positions that led to successful careers in Washington. After her husband's death, she lived with her son at Edgehill estate until November 29 and then in Washington, D.C. and Boston with other married children. To generate income, she hired out her remaining slaves. She also had a modest income from bank stock donated in tribute of Jefferson by the states of Louisiana and South Carolina. The state legislatures each donated $10,000 to her for her support. She had a little income from her father's estate.


title: Martha Jefferson Randolph

text: Randolph put Monticello on the market two weeks following her father's death in July 1826. She attempted to sell it through a lottery, but was unable to sell it until 1831 to a James S. or James T. Barclay in 1831. After having been on the market for five years, the plantation sold for $7,000, 1/10th of its $71,000 value. A school was established at Edge Hill by her unmarried daughters, Mary and Cornelia, and Patsy, who taught music there at times. Randolph also traveled to the homes of her married children in her later years.


title: Martha Jefferson Randolph

text: While in Boston, Randolph wrote her final will on January 24, 1836, and returned to the Edge Hill estate in July 1836. She died there on October 10, 1836, at the age of 64. The last surviving child of Thomas and Martha Jefferson, she was buried at the Monticello family graveyard.


title: Martha Jefferson Randolph

text: Martha Jefferson Randolph is the subject of the historical novel "America's First Daughter" by Stephanie Dray and Laura Kamoie, published in March 2016. The novel draws heavily upon Jefferson's letters.


title: Martha Jefferson Randolph

text: In the 1995 film "Jefferson in Paris", Martha Jefferson was portrayed by actress Gwyneth Paltrow. Paltrow's real-life mother, Blythe Danner, had portrayed Martha Jefferson's mother, Martha Wayles Skelton Jefferson, in "1776".


title: Martha Jefferson Randolph

text: In the 2000 4-hour CBS miniseries "Sally Hemings An American Scandal" written by Tina Andrews, Martha Jefferson was portrayed by actress Mare Winningham.


title: Lewis Grabban

text: Lewis James Grabban (born 12 January 1988) is an English professional footballer who plays as a striker for Saudi Arabian club Al-Ahli.


title: Lewis Grabban

text: Grabban's maternal grandparents were Windrush migrants from Jamaica. He converted to Islam at the age of 18.


title: Lewis Grabban

text: After joining Crystal Palace at the age of 13, he was handed his debut in a 3–0 home win against Walsall in the League Cup on 23 August 2005. He made his second appearance in the following round, coming on as a late substitute in a 1–0 win against Coventry City on 20 September. In May 2006, he was named 'Academy Player of the Year'.


title: Lewis Grabban

text: On 16 August 2006, he joined Oldham Athletic on an initial one-month loan deal. He made his debut on 19 August in a 1–0 loss against future club Millwall. The loan deal was extended a day before it was due to expire on 15 September, keeping Grabban at Oldham for another month. After making 10 appearances for the club, he was recalled by Crystal Palace on 10 October 2006.


title: Lewis Grabban

text: He returned to Crystal Palace and made his league debut on 20 February 2007, in a 1–0 away win against Southend United. On 14 March 2007, he scored his first professional goal in a 3–2 win against West Brom.


title: Lewis Grabban

text: On 31 August 2007, he joined Scottish side Motherwell on loan until January 2008. He made his debut on 3 September in a 2–0 defeat to Hearts. His loan ended on 2 January and he returned to Crystal Palace, playing in a 3–0 win against Wolves 10 days later. A week later he played in his final game before joining Millwall, a 2–0 win against Bristol City at Selhurst Park.


title: Lewis Grabban

text: On 21 January 2008, Grabban signed for Palace's London rivals Millwall for £150,000 on a three-and-a-half year contract, and he was assigned the shirt number 10. He made his debut on 23 January in a 2–2 draw against Nottingham Forest at The Den. He scored his first goal for Millwall on 23 February in a 3–0 home win against Port Vale. He then scored in the following two games, scoring an equaliser to earn Millwall a 1–1 draw away to Luton Town, and opening the scoring in the first minute of a 2–1 win against Swansea City.


title: Lewis Grabban

text: On the opening day of the 2008–09 season, Grabban scored in a 4–3 defeat to Oldham Athletic. His goal at the time had given Millwall a 3–1 lead, however Oldham sensationally managed to come back and win the game 4–3. On 30 August, he scored in a 2–1 win against Huddersfield Town, and scored again the following game which was a 2–0 win against Hartlepool United.


title: Lewis Grabban

text: He began to find form as he scored four goals in nine matches, all of which were wins, against Swindon Town, Colchester United, Hereford United and Chester. Millwall finished fifth in the table, and after defeating Leeds United in the play-off semi-finals, they lost 3–2 to Scunthorpe United in the final at Wembley. Millwall and Grabban did gain promotion via the playoffs during the 2009–10 season after winning the 2010 Football League One play-off Final against Swindon Town.


title: Lewis Grabban

text: On 25 March 2010, Grabban signed for Brentford on loan until the end of the season. On 27 March he made his debut and scored as Brentford beat Leyton Orient 1–0 at Griffin Park. His next and final goal of the loan spell came in a 3–0 home victory against Huddersfield Town on 10 April. He scored twice in 7 appearances<ref name="Games played by Lewis Grabban in 2009/2010"></ref> before being recalled by parent club Millwall on 21 April. Brentford manager Andy Scott said: "He's done really well for us and we are very disappointed to lose him". The following season, he re-joined Brentford on loan for one month on 8 October 2010. He made his second debut the following day, in a 3–1 home defeat to Oldham Athletic. He scored his first goal in a 1–1 draw against AFC Bournemouth on 2 November, scoring a penalty just eight minutes after coming on as a substitute. The following day his loan spell was extended for another two months, keeping him at the club until 4 January. On 24 January 2011, Grabban signed permanently for Brentford on a free transfer, with his contract lasting until the end of the season. After scoring in games against MK Dons and Walsall, he scored twice in a 4–4 draw with Huddersfield Town on 7 May 2011, which was also his last appearances for the club. Grabban made 32 appearances and scored 7 goals across his three spells with the Bees.


title: Lewis Grabban

text: On 4 July 2011, Grabban signed for League Two side Rotherham United, on a two-year deal. He had previously worked with manager Andy Scott during his time at Brentford.


title: Lewis Grabban

text: He made his debut on 6 August, and scored a stunning volley with the outside of his foot from the edge of the box, as Rotherham beat Oxford United 1–0 at Don Valley Stadium. He scored his second goal for the club on 27 August in a 3–0 home win against Gillingham, taking Rotherham to the top of the league in the process. On 10 September he scored twice as Rotherham beat Dagenham & Redbridge 3–1. A week later he scored twice in one game again, in a 3–3 draw with Torquay United. In October he scored in back to back games in the space of three days, in draws to Shrewsbury and Morecambe. In November, he scored in three consecutive wins, including two league wins against Aldershot and Bradford City, and twice in an FA Cup win against Barrow. He scored his third FA Cup goal of the season on 3 December, however Rotherham were eliminated as they lost 2–1 to Shrewsbury.


title: Lewis Grabban

text: He scored his first goals of 2012 on 2 January, as Rotherham beat Bradford 3–0 at home. On 5 January Crawley Town bid £100,000 for Grabban, who had scored 12 goals in 24 appearances so far for Rotherham. The bid was rejected, and Rotherham manager Andy Scott labelled the bid as "embarrassing", saying it would take big money for them to accept any offers.