title: Sasol

text: In 1997 Sasol Technology Research and Development began research on the selective trimerisation of ethylene to 1-hexene. This led to the development and patenting of 6 trimerisation catalyst systems. A groundbreaking innovation was made in 2002, with the discovery of a trimerisation catalyst that could make 1-octene in high selectivity. This was considered impossible by international experts in the field. Construction of this first-of-a-kind plant in Lake Charles, Louisiana, is under way. The ready for commissioning date is August 2013.


title: Sasol

text: Sasol is also involved in conventional oil refinery. Incorporated on 8 December 1967, construction started on the Natref refinery in 1968 and commissioned in Sasolburg in 1971. It was built as a joint venture between the Industrial Development Corporation (IDC), National Iranian Oil Company and Compagnie Fransçaise de Petroles (Total) with financing by the Rembrandt Group, Volkskas and SA Mutual. By 1979, prior to the Iranian Revolution, the refinery was receiving seventy percent of its oil from Iran and National Iranian Oil Company owned 17.5 percent of the facility. Oil was piped 800 km from Durban via Richards Bay to the refinery. The refinery is now a joint venture between Sasol Ltd and Total South Africa (Pty) Ltd. Sasol has a 63,64 percent interest in Natref and Total South Africa a 36,36 percent shareholding. The refining capacity of Natref to 108,500 barrels per day. Natref is one of the only inland refineries in South Africa. It was designed to get the most out of crude oil and is equipped with state-of-the-art technology. The refinery uses the bottoms upgrading refining process using medium gravity crude oil and is capable of producing 70% more white product than coastal refineries that have to rely on heavy fuel oil. Some of the products produced from the refinery are diesel, petrol, jet fuel, LPG, illuminating paraffin, bitumen and sulfur. Natref has been certified in terms of the ISO 14001 Environmental Management System.


title: Sasol

text: Sasol devotes most of its sponsorship investment in South Africa to Sports. Among others, Sasol sponsors South Africa's national teams, including:


title: Sasol

text: Sasol also sponsors the annual Sasol Rally, the Sasol New Signatures art competition, the Black Tie Ensemble, the South African National Youth Orchestra, Sasol GTC (Global Touring Cars) and the Techno X Festival of Science, Engineering and Technology.


title: Sasol

text: In 1983 the company began a permanent art collection comprising artworks from over 2000 South African artists. The collection focuses on collecting contemporary art but hosts some historical South African works. In 2017 Cate Terblanche was appointed curator of the collection which includes works by Luan Nel, Clive van den Berg, Kevin Brand, Kagiso Patrick Mautloa, Peter Schütz, Stephanus Rademeyer and Marco Cianfanelli.


title: Sasol

text: In 2009 Sasol agreed to pay an administrative penalty of R188 million as part of a settlement agreement with the Competition Commission of South Africa for alleged price fixing, in which a competitor alleged that Sasol was abusing its dominance in the markets for fertilisers by charging excessive prices for certain products. Sasol won an appeal on the case and will not be paying the settlement anymore.


title: Sasol

text: Sasol also had to pay a €318 million fine to the European Commission (EC) in 2008, which is about R3.7 billion, for participating in a paraffin wax cartel. Despite its indication that it would appeal the fine amount, the full amount had to be paid to the EC within three months of the fine being issued.


title: Sasol

text: Sasol has been levied with a R1.2bn tax provision by the Tax Court on 30 June 2017 on the back of its international crude oil purchases between 2005 and 2012. In its 2017 financial results announced on 21 August 2017, the chemical conglomerate agreed upon footing the R1.2bn tax liability. If the court's interpretation is implemented for the following 2 years - 2013 and 2014, Sasol Oil's crude purchases could result in a further tax exposure of R11.6bn, thus summing up a total tax figure up to R12.8bn.


title: Sasol

text: A further controversy was when Sasol was forced to step back from the use of ‘100’ in its branding on its petrol pumps, and in its marketing material - the ‘100’ was an oblique hint to 100-cctane, which was tested by UK Authorities, found to be not true, and pressure was bought to bear on Sasol to drop references to the ‘100’ (cctane...).


title: Air Dolomiti

text: Air Dolomiti S.p.A. is an Italian regional airline with its head office in Dossobuono, Villafranca di Verona, Italy, operating base at Verona Villafranca Airport and focus cities at Munich Airport and Frankfurt Airport in Germany. It is a wholly owned subsidiary of Lufthansa.


title: Air Dolomiti

text: Air Dolomiti operates a network of routes from several Italian destinations to and from Munich and Frankfurt. Most of these services are sold under the "Air Dolomiti" brand and codeshared with Lufthansa, while a few remain under the Lufthansa brand.


title: Air Dolomiti

text: Air Dolomiti was established on 30 December 1989 by the "Linee Aeree Europee (L.A.E)". The airline's name derives from the section of the Alps known as The Dolomites. It started airline operations in January 1991 with a Trieste-Genoa route and in 1992 started international services with flights from Verona to Munich.


title: Air Dolomiti

text: After several years of co-operation, Lufthansa acquired a 26% stake in January 1999 and increased it to 52% in April 2003 and 100% in July 2003.


title: Air Dolomiti

text: The airline employed some 748 people at June 2020 and although most Lufthansa Regional subsidiaries operate under their parent's name and colours, Air Dolomiti retains its own identity. At one time the airline's registered office was in Dossobuono, Villafranca di Verona, while the airline's executive headquarters were in Ronchi dei Legionari.


title: Air Dolomiti

text: In September 2018, Lufthansa announced it would expand Air Dolomiti's fleet significantly by 12 pre-owned Embraer 190 and 195 aircraft to be transferred from sister company Lufthansa CityLine. However in late 2021, Lufthansa stated that the relocation was no longer confirmed and maybe continued later or on a smaller scale if at all. Later on, two Embraer 195 were relocated from Lufthansa CityLine by spring 2022. In late 2022, Lufthansa confirmed it would transfer further aircraft from Lufthansa CityLine to Air Dolomiti to strengthen the group's presence in Italy after its bid to take over ITA Airways fell apart.


title: Air Dolomiti

text: As of February 2021, Air Dolomiti operates routes from Frankfurt Airport and Munich Airport to 14 destinations in Italy and Europe in cooperation with parent Lufthansa in addition to a domestic Italian network.


title: Air Dolomiti

text: Several of Air Dolomiti's aircraft are named after famous Italian operas, as a tribute to the city of Verona and its famous ancient theatre, the Arena di Verona.


title: Will Buxton

text: Will Buxton (born 14 February 1981) is a British Formula One digital presenter and reporter who works for Liberty Media.


title: Will Buxton

text: Whilst at university Buxton started writing for GrandPrix.com. In 2002 he joined the Official Formula 1 Magazine, and was a staff writer there until it closed in February 2004, when he went on to freelance work.


title: Will Buxton

text: Buxton was offered the role of press officer for the inaugural GP2 Series of 2005, and was later promoted to Director of Communications. In 2008 Buxton became editor of the GPWeek virtual magazine, and in 2009 he started providing live commentary for the GP2 Series and GP2 Asia Series for Formula One Group.


title: Will Buxton

text: In 2014, Buxton was invited to participate in the Inaugural Florida Winter Series. He only participated in 3 events, alongside names such as double Formula 1 World Champion Max Verstappen, current Aston Martin race driver Lance Stroll and former Williams race driver Nicolas Latifi.


title: Will Buxton

text: In 2010, Buxton joined Speed, a motorsports channel which was owned by Fox Sports, as Formula 1 pit-lane reporter, until it lost the rights to broadcast F1 at the end of 2012. In 2013, the broadcasting rights for Formula 1 went to NBC Sports, where Buxton resumed his role as pit-lane reporter, as well as later joining NBC's broadcast team for Indycar races, until 2017.


title: Will Buxton

text: In a Sky Sports F1 interview in December 2017, Buxton supported the changes Liberty Media had made whilst running Formula 1, despite these changes having lost him his job at NBC Sports.


title: Will Buxton

text: Buxton returned to Formula 1 in an official capacity in 2018, becoming Formula One Group's first Digital Presenter. He hosts a number of features on their official YouTube channel, including "Weekend Warm-Up" (formerly "Paddock Pass"), a feature he carried over from NBC.


title: Will Buxton

text: Buxton has appeared in all four seasons of Netflix's documentary series "" based on the 2018, 2019, 2020, and 2021 Formula 1 seasons giving his opinions on the events covered in the series.


title: Will Buxton

text: In 2019, Buxton released his first book, titled: "My Greatest Defeat: Stories of Hardship and Hope from Motor Racing's Finest Heroes", featuring illustrations from Giuseppe Camuncoli.


title: Will Buxton

text: Buxton was born in Portsmouth, but grew up in Malvern, Worcestershire. He attended King's School, Worcester where he was a chorister at Worcester Cathedral under Donald Hunt. He went on to study at Lord Wandsworth College and Sixth Form College, Farnborough in Hampshire before studying Politics at the University of Leeds.


title: Will Buxton

text: In 2018 Buxton announced he was engaged to Victoria Helyar, who worked in marketing for Racing Point F1 Team. They married on 16 April 2022.


title: Foal

text: A foal is an equine up to one year old; this term is used mainly for horses, but can be used for donkeys. More specific terms are colt for a male foal and filly for a female foal, and are used until the horse is three or four. When the foal is nursing from its dam (mother), it may also be called a "suckling". After it has been weaned from its dam, it may be called a "weanling". When a mare is pregnant, she is said to be "in foal". When the mare gives birth, she is "foaling", and the impending birth is usually stated as "to foal". A newborn horse is "foaled".


title: Foal

text: After a horse is one year old, it is no longer a foal, and is a "yearling". There are no special age-related terms for young horses older than yearlings. When young horses reach breeding maturity, the terms change: a filly over three (four in horse racing) is called a mare, and a colt over three is called a stallion. A castrated male horse is called a gelding regardless of age; however, colloquially, the term "gelding colt" is sometimes used until a young gelding is three or four. (There is no specific term for a spayed mare other than a "spayed mare".)


title: Foal

text: Horses that mature at a small stature are called ponies and occasionally confused with foals. However, body proportions are very different. An adult pony can be ridden and put to work, but a foal, regardless of stature, is too young to be ridden or used as a working animal. Foals, whether they grow up to be horse or pony-sized, can be distinguished from adult horses by their extremely long legs and small, slim bodies. Their heads and eyes also exhibit juvenile characteristics. Although ponies exhibit some neoteny with the wide foreheads and small stature, their body proportions are similar to that of an adult horse. Pony foals are proportionally smaller than adults, but like horse foals, they are slimmer and have proportionally longer legs.


title: Foal

text: Foals are born after a gestation period of approximately 11 months. Birth takes place quickly, consistent with the status of a horse as a prey animal, and more often at night than during the day. Labor lasting over twenty-four hours may be a sign of medical complications. Unlike most predators which are altricial (born helpless), horses are precocial, meaning they come into the world relatively mature and mobile. Healthy foals can typically keep up with the rest of the herd only a few hours after birth. If a foal has not eaten within twelve hours, it may require assistance.


title: Foal

text: Healthy foals grow quickly and can put on up to three pounds or over a kilo a day. A sound diet improves growth and leads to a healthier adult animal, although genetics also plays a part. In the first weeks of life the foal gets everything it needs from the mare's milk. Like a human infant, it receives nourishment and antibodies from the colostrum in milk that is produced within the first few hours or days following parturition. The mare needs additional water to help her produce milk for the foal and may benefit from supplementary nutrition.


title: Foal

text: A foal may start to eat solids from ten days of age, after eight to ten weeks it will need more nutrition than the mare's milk can supply; supplementary feeding is required by then. It is important when adding solid food to the foal's diet to not feed the foal excessively or feed an improperly balanced diet. This can trigger one of several possible growth disorders that can cause lifelong soundness problems. On the other hand, insufficient nutrition to mare or foal can cause stunted growth and other health problems for the foal as it gets older.


title: Foal

text: It is typical for foals under human management to be weaned between four and six months of age, though under natural conditions, they may nurse for longer, occasionally until the following year when the mare foals again. Some foals can nurse for up to three years in domesticity because the mare is less likely to conceive another foetus. A foal that has been weaned but is less than one year old is called a weanling.


title: Foal

text: Mare's milk is not a significant source of nutrients for the foal after about four months, though it does no harm to a healthy mare for a foal to nurse longer and may be of some psychological benefit to the foal. A mare that is both nursing and pregnant will have increased nutritional demands made upon her in the last months of pregnancy, and therefore most domesticated foals are weaned sometime in the autumn in the Northern Hemisphere if the mare is to be bred again the next season.


title: Foal

text: Weanlings are not capable of reproduction. Puberty occurs in most horses during their yearling year. Therefore, some young horses are capable of reproduction prior to full physical maturity, though it is not common. Two-year-olds sometimes are deliberately bred, though doing so, particularly with fillies, puts undesirable stress on their still-growing bodies. As a general rule, breeding young horses prior to the age of three is considered undesirable.


title: Foal

text: In spite of rapid growth, a foal is too young to be ridden or driven. However, foals usually receive very basic horse training in the form of being taught to accept being led by humans, called halter-breaking. They may also learn to accept horse grooming, hoof trimming by a farrier, having hair trimmed with electric clippers, and to become familiar with things it will have to do throughout life, such as loading into a horse trailer or wearing a horse blanket. Horses in general have excellent memories, so a foal must not be taught anything as a young horse that would be undesirable for it to do as a full-grown animal.


title: Foal

text: In either case, foals that have not bonded to their mothers will have difficulty in pasture. The mare will find it more difficult to teach the foal to follow her. Other horses can have difficulty communicating with the foal and may ostracise it due to speaking a different "language". It can be difficult to lead a foal that has never even been led by its dam.


title: Foal

text: Horses are not fully mature until the age of four or five, but most are started as working animals much younger, though care must be taken not to over-stress the "soft" bones of younger animals. Yearlings are generally too young to be ridden at all, though many race horses are put under saddle as "long" yearlings, in autumn. Physiologically young horses are still not truly mature as two-year-olds, though some breeders and most race horse trainers do start young horses in a cart or under saddle at that age. The most common age for young horses to begin training under saddle is the age of three. A few breeds and disciplines wait until the animal is four.


title: Merchant Ivory Productions

text: Merchant Ivory Productions is a film company founded in 1961 by producer Ismail Merchant (1936–2005) and director James Ivory (b. 1928). Merchant and Ivory were life and business partners from 1961 until Merchant's death in 2005. During their time together, they made 44 films. The films were for the most part produced by Merchant and directed by Ivory, and 23 of them were scripted by Ruth Prawer Jhabvala (1927–2013) in some capacity. The films were often based upon novels or short stories, particularly the work of Henry James, E. M. Forster, and Jhabvala herself.


title: Merchant Ivory Productions

text: The initial goal of the company was "to make English-language films in India aimed at the international market". The style of Merchant Ivory films set and photographed in India became iconic. The company also went on to make films in the United Kingdom and America.


title: Merchant Ivory Productions

text: Some actors and producers associated with Merchant Ivory include Maggie Smith, Leela Naidu, Madhur Jaffrey, Aparna Sen, Shashi Kapoor, Jennifer Kendal, Hugh Grant, James Wilby, Rupert Graves, Simon Callow, Anthony Hopkins, Glenn Close, Uma Thurman, Emma Thompson, Vanessa Redgrave, Natasha Richardson, Ralph Fiennes, Colin Firth, Richard Hawley and Helena Bonham Carter.


title: Merchant Ivory Productions

text: Of this collaboration, Merchant once commented: "It is a strange marriage we have at Merchant Ivory... I am an Indian Muslim, Ruth is a German Jew, and Jim is a Protestant American. Someone once described us as a three-headed god. Maybe they should have called us a three-headed monster!"


title: Merchant Ivory Productions

text: The expression "Merchant–Ivory film" has made its way into common parlance, to denote a particular genre of film rather than the actual production company. While 1965's "Shakespeare Wallah" put this genre on the international map, its heyday was the 1980s and 1990s with such films as "A Room with a View" (1985) and "Howards End" (1992). A typical "Merchant–Ivory film" would be a period piece set in the early 20th century, usually in Edwardian England, featuring lavish sets and top British actors portraying genteel characters who suffer from disillusionment and tragic entanglements. The main theme often surrounded a house, which took on a particular importance in many Merchant Ivory films.


title: Merchant Ivory Productions

text: Merchant Ivory Productions was founded in 1961 by Ismail Merchant and James Ivory in India to produce English language films.


title: Merchant Ivory Productions

text: After early, modest successes with films such as "The Householder", "Shakespeare Wallah", and "Bombay Talkie", Merchant and Ivory suffered a lean period during the 1970s. Films such as "Jane Austen in Manhattan" and "The Wild Party" failed to find an audience. Their fortunes revived dramatically in 1979 when they made an adaptation of Henry James' novel "The Europeans". Their film "Heat and Dust" (1983) was an art-house hit in Europe, particularly in England. However, it was not until their work together on "A Room with a View" (1985) that they broke out from the art house into broader success.


title: Merchant Ivory Productions

text: In 1985, Merchant Ivory Productions was signed by film distributor Cinecom International Films in order to gave Cinecom access to the 11 Merchant Ivory productions at that time as Cinecom had to increase its distribution schedule. In 1986, Merchant Ivory and Cinecom begin their co-production lineup with the film "The Deceivers". In 1987, after 25 years as an independent producer, Merchant Ivory Productions would be courted by Hollywood power brokers and deep-pocket investors mesmerised by the success of the triple-Oscar winning feature film "A Room with a View", and decided that they would decline four offers in order that they wanted to make the company to go public.


title: Merchant Ivory Productions

text: Around 1990, they moved their productions to England and the United States. Ruth Prawer Jhabvala became their frequent collaborating writer. Major film studios sought them out; Disney signed Merchant Ivory Productions to a three-year distribution deal in 1991.


title: Merchant Ivory Productions

text: In October 2015, Cohen Media Group acquired the Merchant Ivory brand and library, 21 films and 9 documentaries including worldwide distribution, for restoration and rerelease as a part of the Cohen Film Collection. Ivory would be creative director on the films' restoration, re-release and promotion.


title: Merchant Ivory Productions

text: Ivory was known for often directing the productions. He received three Academy Award nominations for his work but never won. He received his first Oscar at the age of 89 for his screenplay for "Call Me by Your Name", becoming the oldest person to win an Oscar for writing.


title: Merchant Ivory Productions

text: Hawley started in 1987 as Ivory's first assistant director on "Slaves of New York". He was involved in every project to some degree thereafter. In 1994, he started co-running the company with Merchant and departed in 2009 after completion of "The City of Your Final Destination".


title: Dustin Demri-Burns

text: Dustin Demri-Burns (born 11 July 1978) is a British actor, comedian and writer. He is best known for his work in "Cardinal Burns".


title: Dustin Demri-Burns

text: He appeared in films as the roles of Danny Sinclair in the 2013 film "" (2013), Viktor in the 2018 action comedy film "The Spy Who Dumped Me" (2018) and Crazy Cedric in the 2019 comedy film "" (2019).


title: Dustin Demri-Burns

text: In television, he appeared in shows as Julian in "Stath Lets Flats", Will_5000 in "Sick Note", Simon in "GameFace", Daniel in "Turn Up Charlie" and Voltaire in "The Great".


title: Dustin Demri-Burns

text: Demri-Burns was born in Lancaster, Lancashire on 11 July 1978. He attended Elliott School, Putney, Putney Heath, South West London (1989–96). He graduated from the London Academy of Music and Dramatic Art with a degree in acting.


title: Dustin Demri-Burns

text: Demri-Burns started his acting career when he played a minor character in the 2003 short film "Nightswimming" (2003).


title: Dustin Demri-Burns

text: His film credits include "The Spy Who Dumped Me", "Bridget Jones' Baby", "The Brothers Grimsby" and "Kill Your Friends".


title: Dustin Demri-Burns

text: He played the role of Danny Sinclair in the 2013 film "", featuring Steve Coogan, and has also played the role Cedric in the 2019 film "". The same year, he also started in Abigail Blackmore's film "Tales from the Lodge", alongside Kelly Wenham, Mackenzie Crook, Laura Fraser, Sophie Thompson and Johnny Vegas.


title: Dustin Demri-Burns

text: Along with his friend Sebastian Cardinal he created and produced the sketch comedy programme "Cardinal Burns".


title: Dustin Demri-Burns

text: Demri-Burns has provided voices of characters in animation, such as the voice of Grumpy in "Digby Dragon" and as the UK voice of Tread in "Bob the Builder".


title: Dustin Demri-Burns

text: In 2020, he played the role of Voltaire in an episode of the Hulu television series "The Great", featuring Elle Fanning and Nicholas Hoult.


title: Swaffelen

text: Swaffelen (or zwaffelen or dick slap) is a Dutch term meaning to hit one's soft or semi-hard penis—often repeatedly—against an object or another person's body. Swaffelen was named as the word of the year in the Netherlands and Belgium in 2008.


title: Swaffelen

text: The act of swaffelen often takes place in the form of teasing, crude humour or a degrading context, but can also be a sexual act. When the act is practised on a person, it is often the person's cheek that is hit with the flaccid or semi-hard penis.


title: Swaffelen

text: The term "swaffelen" is believed to have originated in English-speaking areas. It is believed to originate from Dutch words meaning swing, sway and swoop, as well as the German words for tail or penis (Schweif and Schwanz).


title: Swaffelen

text: In April 2008, the term received wide media attention in the Netherlands and Belgium, when a Dutch student committed the act on the Taj Mahal and uploaded the video to YouTube. The student was suspended for this action.


title: Swaffelen

text: In response, the BNN TV program "Spuiten en Slikken" invited viewers to make their own videos of other objects being swaffeled. They also called for a "BNN Nationale Swaffeldag" ("BNN National Swaffel Day") to be declared. The Royal Palace of Amsterdam and the Basilica of Saint Servatius in Maastricht were among the objects swaffeled in the submissions.


title: Swaffelen

text: When the topic of swearing in various languages arose, in episode 4, series N, of the British panel show "QI", one of the show's panelists, Jeremy Clarkson, mentioned the word, defining it as meaning, "specifically", "...to bang your penis against the Taj Mahal."


title: Swaffelen

text: On episode 5 of the Amazon Video show "The Grand Tour", Jeremy Clarkson again defined it as "to bang your gentleman sausage... on the side of the Taj Mahal".


title: Swaffelen

text: Swaffelen was voted as the word of the year in a 2008 competition organized by Genootschap Onze Taal (Society for Our Language), (Van Dale Publishers) and the newspaper De Pers. The blog GeenStijl.nl encouraged readers to vote for "swaffelen". "Swaffelen" received 57% of the votes while "wiiën" (meaning to play Wii) drew 12% and "bankendomino" (referring to the credit crisis) received 6% of the votes. "Gastroseksueel" and "smirten" each received 5% of the vote.


title: Swaffelen

text: Turkey slap is another term for swaffelen. The phrase gained notoriety in Australia during 2006, after two male contestants in the "Big Brother" reality TV series performed the act on a female housemate. In the ensuing controversy, the male housemates were expelled from the house and contest for violating the show's terms of agreement.


title: Manhattan Plaza

text: Manhattan Plaza is a large federally subsidized residential complex of 46 floors and at 400 and 484 West 43rd Street in midtown Manhattan, New York City. Opened in 1977, it has 1,689 units and about 3,500 tenants. 70% of the tenants are from the performing arts, 15% are neighborhood residents, and 15% are elderly. It occupies the city block bounded north by 43rd Street, east by Ninth Avenue, south by 42nd Street, and west by Tenth Avenue. Developed by HRH Construction, since January 2004 it has been owned by The Related Companies. Manhattan Plaza is the subject of a documentary titled "Miracle on 42nd Street", released in 2017.


title: Manhattan Plaza

text: Construction on this "superblock" development west of Manhattan's Theater District was begun in 1974 by HRH Construction, a real estate construction and development firm led at the time by Richard Ravitch. The project consisted of two 45-story residential towers at opposite ends of the block designed for middle- and upper-middle class rental tenants, with townhouses, shops, a health club and parking facility in the mid-block, financed with a $95 million mortgage by the City of New York under the New York State Mitchell-Lama Housing Program for middle-income housing. However, during construction, New York City went into a steep recession, and faced with mounting financial difficulties, the city was able to fund only $65 million of its commitment. The financial crisis also affected the city's housing market, and it became apparent that there would be little to no market for the apartments as originally been planned.


title: Manhattan Plaza

text: This was in part due to the location of the development in the heart of New York's then rough-and-tumble Clinton neighborhood—historically known as "Hell's Kitchen"—and the rapidly declining environment of the Times Square area, at that point the epicenter of New York's 'adult' and pornographic activities. Manhattan Plaza cleared out the adult businesses on the north side of 42nd Street between 9th and 10th Avenues. At the same time the 42nd Street Development Corporation under the leadership of Fred Papert and with Jacqueline Kennedy Onassis on its board was working on converting the adult stores on the south of 42nd Street between 9th and 10th into Off Broadway theatres now known as Theatre Row.


title: Manhattan Plaza

text: With no other options available, New York City applied for Federal funds under the Section 8 program to re-purpose the project as deeply subsidized housing for poor and moderate-income families. Under Section 8, tenants would pay no more than 30% of their income for rent. The plan aroused widespread, intractable opposition from the surrounding working class community, concerned about a potential influx of thousands of dysfunctional, poor neighbors. At that point, an innovative solution was conceived by Daniel Rose, the real estate developer whose company had been retained to manage the project. Rose had been searching for a tenant population that would meet the income requirements for deeply subsidized public housing, assuage the community's fears about dysfunctional neighbors, and contribute to the revitalization of the Times Square neighborhood. Quoting Mike Todd, who once said that while growing up, his "family had been often "broke", but never "poor"", Rose proposed limiting occupancy in the new project solely to residents who were, or had been, engaged in the performing arts. By seeding the 1,600 apartments with families of actors, musicians, directors, stagehands and others in the entertainment industry, the idea was to fill the project, stabilize the neighborhood, and support the regrowth of legitimate theater in Times Square.


title: Manhattan Plaza

text: Met at first with skepticism to derision (as no other subsidized housing project had previously been limited by occupation), the idea soon garnered enthusiastic support from the performing arts unions and the City. Peter Joseph, a deputy commissioner of the NYC Housing and Development Administration, said the agency strongly supported the performing arts idea: “It takes what had been an uncomfortable situation and makes it something vibrant and exciting. We think it's innovative and frankly, we're ecstatic about it. We're committed to pulling it off.” There continued to be concern from neighborhood residents, but they were allayed to a large extent when a study was published by the Settlement Housing Fund estimating that 100,000 households in New York had members engaged in the performing arts, and about two-thirds of them would be eligible to move into the project under Federal income guidelines:


title: Manhattan Plaza

text: Rose's plan for "Manhattan Plaza for the Performing Arts" was eventually approved with support from the City, the performing arts unions, and the surrounding community, and opened with a Mayoral ribbon-cutting in 1977. 70% of the 1,689 units were reserved for performing arts workers, 15% for elderly and handicapped residents of the surrounding neighborhood, and 15% for existing residents of the neighborhood living in substandard housing. The project quickly filled up, with the waiting list for apartments topping 3,000 names within the first year.


title: Manhattan Plaza

text: An important factor in the early success of Manhattan Plaza was Rose's recruitment of The Rev. Rodney Kirk as the first Director of the Development. Kirk had been on the staff of the Cathedral of St. John the Divine until 1976, when he was given leave to help with the city's bicentennial celebrations. Tapped to supervise the opening of Manhattan Plaza, Kirk helped set the tone for the development, and organized community support that permitted hundreds of aging neighborhood residents to keep their apartments with their dignity intact. Shortly after Manhattan Plaza opened, the City was hit by the AIDS crisis, and many residents in the performing arts contracted AIDS. To respond to their needs, Kirk established social service programs with paid staff and volunteers, and the help of the Actors' Fund, to care for them and for non-residents. According to health officials, a greater proportion of people have died of AIDS in that apartment complex compared to any other residence building in the country. The Manhattan Plaza AIDS Project Foundation's benefit concert in May 1997 at the Westside Theatre on 43rd Street featured Joseph Bologna and Renée Taylor, Jenny Burton, Vivian Reed; artists in other years included Jeanne MacDonald, Audra McDonald, and Robert Cuccioli.


title: Manhattan Plaza

text: As HIV/AIDS came under control, the focus of the social services program shifted to the elderly, who are aging in place, and are sometimes unable to care for themselves. Kirk retired in 1997 and died in 2001. His work was continued by General Manager Richard Hunnings, his companion of 42 years. The Rodney Kirk Theatre is now one of the theatres across 42nd Street in the Theatre Row Building.


title: Manhattan Plaza

text: Aside from the McGraw-Hill Building, the complex was the tallest in the Hell's Kitchen area at the time it was completed, and is still highly visible from the north, south, and west sides. Between the two buildings are a multi-story garage, a fitness center (including a swimming pool), a basketball court, a playground, tennis courts, a wall-climbing center, and a number of shops (including Arnold Wilkerson's Little Pie Company), restaurants, and a bank branch.


title: Manhattan Plaza

text: Located within the Tenth Avenue building is the 43rd St Kids Preschool, which was founded in 1981. It is a private, non-profit, parent cooperative school. More than 1,500 one-act plays including more than 40 by Lewis Black have been staged at the Laurie Beechman Theatre in the West Bank Cafe (where Bruce Willis was a bartender) at the base of the 9th Avenue building.


title: Manhattan Plaza

text: In the middle of March 2009, the original playground located on the 3rd floor rooftop was taken down in order to build a new playground built by Kompan and sponsored by former football player Tiki Barber. The company was known as Tiki Recreation. It is one of three rare and unique playgrounds. It has an electronic setting and virtual interactive games programmed within the equipment. The park officially opened June 8, 2009.


title: Manhattan Plaza

text: Manhattan Plaza had a Summer Day Camp / Youth Program every year for kids ages 7 to 13 from July to August. The camp consisted of swimming, baseball, basketball, dodgeball, tennis, wall climbing, taekwondo, cooking, and Four Square / Box Ball as well as performing arts. Campers also created a "4Square" type game called Nations. The camp had trips and sees movies once a week. The camp shut down a couple years ago.


title: New International Economic Order

text: The New International Economic Order (NIEO) is a set of proposals advocated by developing countries to end economic colonialism and dependency through a new interdependent economy. The main NIEO document recognized that the current international economic order "was established at a time when most of the developing countries did not even exist as independent states and which perpetuates inequality." In the spirit of "trade not aid," the NIEO called for changes in trade, industrialization, agricultural production, finance, and transfer of technology. The United Nations General Assembly adopted the "Declaration for the Establishment of a New International Economic Order" and its accompanying program of action on 1 May 1974.


title: New International Economic Order

text: The idea of a new international economic order emerged from the experiences of decolonization after the Second World War. Newly decolonized countries gained political sovereignty but "felt that their "de jure" political colonization ended only to be replaced by a "de facto" economic colonization." This mission to achieve a more equitable international system was motivated also by increasing inequality in the share of global national income between developed and underdeveloped countries, which more than doubled between 1938 and 1966. From its beginnings in 1964, the United Nations Conference on Trade and Development (UNCTAD), along with the associated Group of 77 and the Non-Aligned Movement, was the central forum for discussions of the NIEO. Key themes of the NIEO included both sovereign equality and the right of self-determination, especially when it comes to sovereignty over natural resources. Another key theme was the need for a new commodity order through international commodity agreements and a common fund for commodity price stabilization. Restructuring international trade was also central as a means to improve developing countries' terms of trade, such as by diversifying developing economies through industrialization, integrating developing countries economies into regional free trade blocs like the Caribbean Community, reducing developed-country tariffs and other obstacles to free trade, expanding generalized trade preferences, and designing other agreements to reduce trade barriers. These proposals to restructure the international economic system also sought to reform the Bretton Woods system, which had benefited the leading states that had created it – especially the United States. This set of proposals proclaimed that facilitating the rate of economic development and market share among developing countries will fight global issues such as hunger and despair more effectively than the current focus on philanthropy and development aid. This advocacy among nations of the Non-Aligned Movement can also be understood as an extension of the decolonization movement that was present in many developing countries during that time. In this perspective, political and economic equity were perceived as a metric to measure the success of independence movements and completing the decolonization process.


title: New International Economic Order

text: In 1974, the United Nations General Assembly adopted the "Declaration for the Establishment of a New International Economic Order" along with its accompanying program of action and formalized this sentiment among nation states. A few months later the UN General Assembly adopted the "Charter of Economic Rights and Duties of States." Since then, there have been many meetings to realize the NIEO. In 2018, the United Nations General Assembly adopted the resolution "Towards a New International Economic Order," which reaffirmed "the need to continue working towards a new international economic order based on the principles of equity, sovereign equality, interdependence, common interest, cooperation and solidarity among all States."


title: New International Economic Order

text: The legacy of the NIEO is mixed. Parts of the NIEO were realized, such as the non-legal, non-binding "Restrictive Business Practice Code" adopted in 1980 and the Common Fund for Commodities, which came in force in 1989. In addition, in "World Trade Organization", Matsushita et al. state, "The realization of the New International Economic Order was an impetus for developing country support for the Tokyo Round of trade negotiations. Critics of the WTO continue to state that little of substance for developing countries came out of either the Tokyo or Uruguay Rounds. The adoption of the 1974 Declaration and the much more recent resolution "Towards a New International Economic Order" keeps the ideas of the NIEO visible in the policy arena.


title: New International Economic Order

text: Some judge the NIEO as a failure. For example, the failure of NIEO proposals contributed to the formulation of the "Right to Development" in 1986. From the 1980s onward, the Bretton Woods framework would be replaced with the Washington Consensus and economic globalization on terms often described as neoliberal. The economic reach of multinational corporations, rather than being circumscribed, would be expanded significantly. Trade in commodities would shift away from state-dominated cartels towards increasingly financialized markets. The formation of the World Trade Organization and the proliferation of free trade agreements would compel the reduction of barriers to trade, generally on strictly reciprocal terms.


title: New International Economic Order

text: The United States government rejected the NIEO almost immediately. Neoconservatives and libertarians criticized the NIEO and became influential in US foreign policy circles. They understood this egalitarianism as requiring authoritarian central planning to reallocate resources, which would actively threaten US global power. Regarding resource allocation mechanisms, Haggard and Simmons claimed that:


title: New International Economic Order

text: Economist Harry Johnson criticized the NIEO for using central planning and monopolistic power to extort transfers of income and wealth from the developed countries. In his view, commanding prices for raw materials above their natural level usually reduces consumption and thus causes unemployment among producers, and price regulation typically gives the extra income to those in control of who is allowed to produce, e.g., to governments or land-owners. Newly elected President Ronald Reagan took these calls for market-led foreign policy to the North–South Summit in Cancun in 1981, where, according to historian Michael Franczak, "Reagan promised the attending heads of state that private investment and free markets were the surest path to development, prosperity, and, yes, democracy."


title: Kathleen Madigan

text: Kathleen Madigan is an American comedian and TV personality. In addition to her stand up comedy performances, she is a regular guest on a variety of U.S. television programs.


title: Kathleen Madigan

text: Kathleen Madigan is one of seven children in the large Irish Catholic family of Jack and Vicki Madigan, a lawyer and a nurse respectively. She grew up mostly in the St. Louis suburb of Florissant, although the family also lived for periods of time in House Springs, Missouri and in the Lake of the Ozarks region of central Missouri. Madigan received the first eight years of her education largely in private Catholic schools, although she also attended the public School of the Osage. It was there she excelled as a student athlete, participating in volleyball, track, and basketball. In the latter, she set a record by winning the 1978 Mid-Missouri Hoops Shoot Championship. At the time she was 4' 5" tall and set a record as the shortest person to win the event. She shot under-handed, sinking 14 of 15 attempts.


title: Kathleen Madigan

text: Madigan attended McCluer North High School graduating in 1983. She admitted in a 2012 interview with "St. Louis Magazine", however, that she participated in few activities like float decorating or prom, choosing instead to work at a steakhouse where she could make up to $200 per night. Madigan attended University of Missouri–St. Louis for two years, but, according to Madigan, all she did was accumulate $7,000 in campus parking tickets. At Southern Illinois University Edwardsville, she earned a B.A. in Journalism in 1988. While at SIUE she was in charge of the student newspaper and also served an internship with the St. Louis Blues professional ice hockey team.


title: Kathleen Madigan

text: Madigan first took a job in print journalism, working for the St. Louis-area Suburban Journals newspapers as well as the publications department of the Missouri Athletic Club. At the same time, she performed stand-up during "open mic" nights at St. Louis area comedy clubs. She credits her father, Jack, with encouraging her to try a comedy career. Her growing popularity at these soon led to the offer of a paying job in stand-up from The Funny Bone, a nationwide chain of comedy clubs. With a thirty-week booking of guaranteed dates, Madigan gave up her jobs in Missouri. She cites Ron White, Richard Jeni and Lewis Black among her influences in those early comedy club days.


title: Kathleen Madigan

text: Among the TV shows and specials Madigan has appeared on are "Last Comic Standing", "", "I Love the '80s 3-D", and "Celebrity Poker Showdown". She also starred in her own HBO Half-Hour Comedy Special and a "Comedy Central Presents" special. She is a veteran of "The Tonight Show with Jay Leno", "Late Night with Conan O'Brien", "Late Show with David Letterman", and "The Bob and Tom Show". She also hosts a radio program, "Blue Collar Comedy", on Sirius XM Radio.


title: Kathleen Madigan

text: Madigan has twice participated in USO shows in support of American troops, touring both Iraq and Afghanistan along with fellow comedians like friend Lewis Black. She sometimes writes material for other comedians, as was the case in 2004 and 2005 when she was a writer for Garry Shandling when he hosted the Emmy Awards telecast. In 2016, she made an appearance on Jerry Seinfeld's web series "Comedians in Cars Getting Coffee".


title: Kathleen Madigan

text: In the wake of her touring stoppage due to the COVID-19 pandemic Madigan launched her own comedy podcast in August 2020, "Madigan's Pubcast". On Saturday, December 19, 2020, she appeared on Byron Allen's "Comics Unleashed" episode of "Girls Gone Wild" on CBS.


title: Kathleen Madigan

text: Madigan is single and lives in Los Angeles, California. She also owns a farm in the Midwest and, according to her, "spends inordinate amounts of time" with her family there. Madigan has four brothers and two sisters. She has often drawn on her father as both a source of comic material and work ethic. In the past, she dated Lewis Black. Their split was amicable, and she still considers Black her best friend.


title: All 4

text: All 4 is a video on demand service from the Channel Four Television Corporation, free of charge for most content and funded by advertising. The service is available in the UK and Ireland; viewers are not required to have a TV licence—required for live viewing and the BBC iPlayer on-demand service—when watching on-demand services. The service launched on 16 November 2006 as 4oD (for "4 on Demand"). The service offers a variety of programmes recently shown on Channel 4, E4, More4, Film4 and E4 Extra and shorts. However some programmes and movies are not available due to rights issues. The service was originally available without registration, but free registration was later required. The service is available without advertising (except for live viewing) on payment of a subscription, under the name All 4+.


title: All 4

text: The cable and IPTV versions are operated through an appropriate set-top box, the Internet variant can be accessed via their website, and there are apps for mobile devices. All 4 generated around 215 million long-form video views on all platforms where it is available in the first half of 2011, making Channel 4 the biggest commercial UK broadcaster in the video on-demand market during the period.


title: All 4

text: On 30 March 2015, 4oD was merged into and renamed All 4. (References below to "All 4" before that date should be understood as including 4oD.)


title: All 4

text: All 4 is set to rebrand as Channel 4 in 2023, becoming the "first UK broadcaster to adopt one brand identity across its digital and linear channels".


title: All 4

text: All 4 is the main source of on demand programmes from Channel 4, E4, and More4. The catch up service currently lasts 30 days, and the archive has thousands of hours of programming.


title: All 4

text: As of April 2009, the internet version is fully available to Mac and Windows users with Adobe Flash Player installed.


title: All 4

text: The "catch-up" service offers content free of charge for 30 days after a programme's broadcast on Channel 4. As of 2011, not all content is available to Irish users, due to licensing restrictions; however, the majority of the programming is available. Live streaming of Channel 4 and its sister channels is not available outside the UK.


title: All 4

text: Channel 4 relaunched 4oD on 31 August 2011. At the heart of the changes is 'My 4oD', allowing registered users to build playlists, schedule shows, maintain a record of what they have watched, save their favourites in a single place, and receive in-page reminders from Channel 4 whenever a new episode is available for them to watch. Other features include better full-page viewing and optimised site navigation during viewing.


title: All 4

text: Amazon Instant Video has a content deal with Channel 4, giving its members streaming access to All 4's archive in a specially branded All 4 collection.


title: All 4

text: Blinkbox previously acquired licenses for a number of programmes to be access on its website, although All 4 itself is not available. Some TV series are available free of charge, such as "Balls of Steel", "Embarrassing Bodies", "Shameless UK", and "Skins", while others, for example "ER", "Shameless US", and "The Big Bang Theory", are charged for.


title: All 4

text: Netflix bought the rights to a number of Channel 4 shows, such as "Father Ted", "The IT Crowd", and "The Inbetweeners", which were shown without adverts. These shows were removed from Netflix in the UK on 15 February 2014.


title: All 4

text: 4oD launched on YouTube in the UK in late 2009, with seven genre-dedicated channels for 4oD additional to separate channels Channel 4 and E4. However, it was announced on 7 January 2014 that Channel 4 had removed all its long-form programming from YouTube in order to focus on the 4oD platform itself, although programming from 4Shorts and Mashed would remain available. On May 11, 2022, Channel 4 announced that a select amount of shows would be made available on YouTube and selected programmes would be made available on YouTube 30 days after being broadcast on Channel 4 and E4.


title: All 4

text: During 2020 Channel 4 entered a new licensing deal with the Walt Disney Company for distributing a variety of older 20th Century Fox programming as part of All 4's expanding "box set" feature. In June, "Buffy the Vampire Slayer" was introduced, followed by "Angel" in September 2020, and "Malcolm in the Middle" in October 2020.


title: All 4

text: On 2 November 2022, Channel 4 announced plans to rebrand it's on-demand service, All 4, as Channel 4. In a statement released by Channel 4, the change enabled it to become "the first UK broadcaster to adopt one brand identity across its digital and linear channels". It was also announced that their portfolio of channels will also align with the Channel 4 branding.


title: All 4

text: All 4 became available as part of Freesat's second generation Free Time guide on 27 June 2013, offering the last seven days of programming integrated to the TV guide and access to the All 4 archive via the on demand section.


title: All 4

text: All 4 is available on Virgin Media's cable television service. This platform offers programmes for 7 days after broadcast and Virgin has exclusive use of most of Channel 4 archive which is free on XL package. In 2007, Virgin Media announced plans to offer high definition programming through All 4 but no further information has been released.


title: All 4

text: All 4 was one of four services available at the launch of YouView in July 2012. At launch, the All 4 app contained options to resume watching recent programmes and browse by most popular, categories, collections, and A-to-Z, but lacked a search function and contained non-skippable adverts. It is also available for BT TV and TalkTalk Plus TV customers, as these services run on YouView.


title: All 4

text: All 4 was released on 14 December 2010 on PlayStation 3 via the PlayStation Network. This service was accessible through ps3.channel4.com, but has now been replaced with a native app. The app version of All 4 for PlayStation 3 was released on 20 June 2013, allowing access to the full All 4 library. All 4 on PS3 is free and ad-funded with pre-, mid- and post-roll video ads being sold and served by Channel 4. The service closed on PS3 systems on 31 January 2021.


title: All 4

text: On 5 October 2011, it was announced that All 4 would be made available to all Xbox Live Gold members. The service also integrates with the Xbox 360's Kinect controller. All 4 was added to the Xbox Live on 21 December 2011. All content on Xbox Live contains ads which cannot be skipped.


title: All 4

text: On 8 November 2013, Channel 4 announced that the All 4 app would be available on Xbox One when it launched on 22 November 2013. In August 2019, the app was removed from the Microsoft Store. It was later released with inferior features to other platforms.


title: All 4

text: An All 4 app for the Android operating system was released on 5 February 2013. Android version 5.0 or greater is required. The service does not support devices it detects as rooted.


title: All 4

text: An All 4 iPad app launched on 3 May 2011, offering a 30-day catch-up service. this app was compatible with iPad with iOS 3.2 or later. The design of the app was elegant and intuitive but received unfavourable reviews because of technical issues and its use of commercial breaks. Since 2013 download and offline watching is supported.


title: All 4

text: An All 4 app for the iPhone and iPod Touch allowing a 30-day catch-up was released on 2 September 2011, along with an update to the iPad app. Both apps support search functionality to enable users to navigate the catch-up and archive content. They can both be browsed in 3G, but video playback is still only available with a Wi-Fi signal to "ensure the quality of the viewing experience isn't affected". The app also links to Channel 4's content on iTunes, allowing programmes to be purchased.


title: All 4

text: On 13 November 2013, a native All 4 app was launched for mobile phones running the Windows Phone 8 platform.


title: All 4

text: The service was originally available as a Windows-only desktop program for downloading shows similar to BBC iPlayer Desktop. Following the launch of the web version of 4oD in April 2009, the desktop client continued to allow content from outside the catch-up window to be downloaded. The Kontiki based program which offered Windows Media Video downloads was closed in July 2009.


title: All 4

text: The desktop client offered programming from other broadcasters such as FX and National Geographic as well as movies from 20th Century Fox. A Download To Own (DTO) or "Buy" feature was also available on selected content, allowing users to purchase a programme and keep it for as long as they wish.


title: All 4

text: On 17 December 2012, Channel 4 and Microsoft released a dedicated All 4 application for Windows 8. The move saw Channel 4 become the first major UK broadcaster to support the operating system with a native app.


title: American Idiot (song)

text: "American Idiot" is a protest song by the American rock band Green Day. The first single released from the album "American Idiot", the song received positive reviews by critics and was nominated for four 2005 Grammy Awards: Record of the Year, Best Rock Performance by a Duo or Group with Vocal, Best Rock Song, and Best Music Video. It is considered one of the band's signature songs.


title: American Idiot (song)

text: One of the two explicitly political songs on the album (the other being fellow single "Holiday"), "American Idiot" says that mass media has orchestrated paranoia and idiocy among the public. Citing cable news coverage of the Iraq War, Billie Joe Armstrong recalled, "They had all these Geraldo-like journalists in the tanks with the soldiers, getting the play-by-play." He felt with that, American news crossed the line from journalism to reality television, showcasing violent footage intercut with advertisements. Armstrong went on to write the song after hearing the Lynyrd Skynyrd song "That's How I Like It" on his car radio. "It was like, 'I'm proud to be a redneck' and I was like, 'oh my God, why would you be proud of something like that?' This is exactly what I'm against." Songwriter Mike Dirnt felt many people would be insulted by the track until they realized that, rather than it being a finger-pointing song of anger, it could be viewed as a "call for individuality". The song emphasizes strong language, juxtaposing the words "faggot" and "America", to create what he imagined would be a voice for the disenfranchised.


title: American Idiot (song)

text: In a 2004 interview with "Q Magazine", the three members of Green Day discussed the idea of flag desecration in relation to their song, with Armstrong and Dirnt being the most supportive: "It means nothing to me. Let's burn the fucking thing."


title: American Idiot (song)

text: "American Idiot" was written in the key of A major. The song is composed of four chords, the I-IV-VII-IV-I-VII progression, while the chorus and solo share the IV-I-V-I progression. The song is classified as a punk rock and pop-punk song. Armstrong plays a 1956 Les Paul Junior on the song, switching to a reissued 1959 flame-top Les Paul for the double-tracked guitar solo. Armstrong was initially reluctant to pursue recording a solo, fearing it to be corny. He eventually decided against this, as he hoped for the album to be "about being 15 and rocking out in front of a mirror." The song's format and cadence was influenced by the Midnight Oil song "US Forces", which Armstrong was introduced to through his wife.


title: American Idiot (song)

text: Released in 2004, the single peaked at number 61 on the "Billboard" Hot 100, becoming Green Day's first "Billboard" Hot 100 chart entry. All of Green Day's other hits had only managed to chart on the Hot 100 Airplay chart or the Bubbling Under Hot 100 chart. However, the appearance of "American Idiot" on the US singles charts occurred just prior to "Billboard"'s inclusion of Internet download purchases into their "Billboard" Hot 100 chart data, which would have made a significant difference in the song's peak had it benefited from the new chart tabulation system. "American Idiot" became Green Day's first top-five single in the United Kingdom, peaking at number 3, and it debuted at number 1 in Canada. In Australia, the song reached number 7 was ranked number 22 on Triple J's Hottest 100 of 2004. Green Day performed the song at the 2005 Grammy Awards. "American Idiot" has sold 1,371,000 copies as of July 2010.


title: American Idiot (song)

text: Ian Winwood of "Kerrang!" said that "Green Day did for their generation, and their country, what the Sex Pistols did for the United Kingdom in 1977, for a nation sick with love for a parasitical royal family."


title: American Idiot (song)

text: The music video for "American Idiot" shows the band playing in a warehouse against a green American flag (a reference to the name of the band), which only has 48 stars. In the middle of the video, the band is seen playing at different speeds (fast, slow-motion, and normal speed). During the bridge, the stripes of the flag melt onto the floor. The band is then sprayed by a green liquid from amplifiers next to the flag. At the end, the band drop their instruments and leave. The song's video was directed by Samuel Bayer. The video won the Viewer's Choice Award and also nominated as Best Art Direction.


title: American Idiot (song)

text: Green Day's 2011 live album "Awesome as Fuck" contained a live rendition of the song, featuring an extended guitar solo, recorded in Montreal, Quebec, Canada on the 21st Century Breakdown World Tour. It was also featured in their 2005 live album "Bullet in a Bible", set at Milton Keynes Bowl.


title: American Idiot (song)

text: "American Idiot" was ranked the number 13 Single of the Decade by "Rolling Stone" magazine in 2009. "VH1" also placed the song at number 13 on its Top 100 Songs of the 2000s in 2011. "Rolling Stone" ranked it number 432 of The 500 Greatest Songs of All Time in 2010, the only Green Day song on the list. The song is certified Gold in the United Kingdom for sales of 400,000.


title: American Idiot (song)

text: In advance of Donald Trump's visit to the UK in July 2018, a campaign to get "American Idiot" to the top of the UK song charts was launched. On the Official UK Charts dated 13 July 2018, the song re-entered the UK Singles Chart at 25 and the UK Singles Downloads Chart at number 2.


title: Santalum album

text: Santalum album, or Indian sandalwood, is a small tropical tree, and the traditional source of sandalwood oil. It is native to southern India and Southeast Asia. It is considered sacred in some religions like Hinduism, and some cultures place great significance on its fragrant qualities. However, the high value of the species has caused over-exploitation, to the point where the wild population is vulnerable to extinction. Indian sandalwood still commands high prices for its essential oil owing to its high alpha santalol content, but due to lack of sizable trees it is no longer used for fine woodworking as before. The plant is long-lived, but harvest is only viable after many years.


title: Santalum album

text: The height of the evergreen tree is between 4 and 9 metres. They may live to one hundred years of age. The tree is variable in habit, usually upright to sprawling, and may intertwine with other species. The plant parasitises the roots of other tree species, with a haustorium adaptation on its own roots, but without major detriment to its hosts. An individual will form a non-obligate relationship with a number of other plants. Up to 300 species (including its own) can host the tree's development - supplying macronutrients phosphorus, nitrogen and potassium, and shade - especially during early phases of development. It may propagate itself through wood suckering during its early development, establishing small stands. The reddish or brown bark can be almost black and is smooth in young trees, becoming cracked with a red reveal. The heartwood is pale green to white as the common name indicates. The leaves are thin, opposite and ovate to lanceolate in shape. Glabrous surface is shiny and bright green, with a glaucous pale reverse. Fruit is produced after three years, viable seeds after five. These seeds are distributed by birds.


title: Santalum album

text: "Santalum album" has been known for four thousand years by its Sanskrit name "chandan". The first extraction of its essential oil occurred in Mysore, India in 1917. For many years, the oils were extracted in the perfumeries at Grasse, France. Production is now controlled by the Indian state, and demand exceeds supply.


title: Santalum album

text: The nomenclature for other "sandalwoods" and the taxonomy of the genus are derived from this species' historical and widespread use. Etymologically it is derived from Sanskrit चन्दनं "chandanam", meaning "wood for burning incense", and related to "candrah", meaning "shining, glowing".


title: Santalum album

text: "Santalum album" is included in the family Santalaceae, and is commonly known as white or East Indian sandalwood. The name, "Santalum ovatum", used by Robert Brown in "Prodromus Florae Novae Hollandiae" (1810) was described as a synonym of this species by Alex George in 1984. The epithet "album" refers to the "white" of the heartwood.


title: Santalum album

text: The species was the first to be known as sandalwood. Other species in the genus "Santalum", such as the Australian "S. spicatum", are also referred to as true sandalwoods, to distinguish them from trees with similar-smelling wood or oil.


title: Santalum album

text: Sandalwood oil consists of about 80% α-santalol and β-santolol, predominantly the former, which are sesquiterpenes. Attempts to synthesise these date to 1947 by Givaudan in Switzerland. The resulting isobornyl cyclohexanol can be distinguished from santolol, but is muich cheaper. Since then other synthetic sandalwood oils have been used in laundry detergents and textiles. Three of the terpene synthase genes producing components employed in host defense are present in "S. album".


title: Santalum album

text: "Santalum album" is indigenous to the tropical belt of the peninsular India, eastern Indonesia and northern Australia. The main distribution is in the drier tropical regions of India and the Indonesian islands of Timor and Sumba. There is still debate as to whether "S. album" is native to Australia and India or was introduced by fishermen, traders or birds from southeast Asia centuries ago.


title: Santalum album

text: Sandalwood is now cultivated in India, Sri Lanka, Indonesia, Malaysia, the Philippines and Northern Australia.


title: Santalum album

text: "S. album" occurs from coastal dry forests up to elevation. It normally grows in sandy or well drained stony red soils, but a wide range of soil types are inhabited. This habitat has a temperature range from and annual rainfall between and . "S. album" can grow up to vertically. It should be planted in good sunlight and does not require a lot of water. The tree starts to flower after 7 years. When the tree is still young the flowers are white and with age they turn red or orange. The trunk of the tree starts to develop its fragrance after about 10 years of growth, but is not ready to harvest till after 20. The tree rarely lives more than 100 years.


title: Santalum album

text: "S. album" is recognized as a "vulnerable" species by the International Union for the Conservation of Nature (IUCN). It is threatened by over-exploitation and degradation to habitat through altered land use, fire (to which this species is extremely sensitive), Spike disease, agriculture, and land-clearing are the factors of most concern. To preserve this vulnerable resource from over-exploitation, legislation protects the species, and cultivation is researched and developed.


title: Santalum album

text: Until 2002, individuals in India were not allowed to grow sandalwood. Due to its scarcity, sandalwood is not allowed to be cut or harvested by individuals. The State grants specific permission to officials who then can cut down the tree and sell its wood. The Indian government has placed a ban on the export of the timber.


title: Santalum album

text: "S. album" has been the primary source of sandalwood and the derived oil. These often hold an important place within the societies of its naturalised distribution range. The central part of the tree, the heartwood, is the only part of the tree that is used for its fragrance. It is yellow-brown in color, hard with an oily texture and due to its durability, is the perfect material for carving. The outer part of the tree, the sapwood, is unscented. The sapwood is white or yellow in color and is used to make turnery items. The high value of sandalwood has led to attempts at cultivation, this has increased the distribution range of the plant. It was valued in construction, since it was considered rotproof.


title: Santalum album

text: The ISO Standard for the accepted characteristics of this essential oil is ISO 3518:2002. HPTLC and GC, GC-MS based methods are used for qualitative and quantitative analyses of the volatile essential oil constituents.


title: Santalum album

text: Indian sandalwood has a high santalol content, at about 90%, compared with the other main source of the oil, the cheaper "Santalum spicatum" (Australian sandalwood), at around 39%, and India used to dominate production of sandalwood oil world-wide, but the industry has been in decline in the 21st century. Another source is "Santalum austrocaledonicum" from New Caledonia. Sandalwood is used in the production of the perfume Samsara by Guerlain (1989).


title: Santalum album

text: The long maturation period and difficulty in cultivation have restricted extensive planting. Harvest of the tree involves several curing and processing stages, also adding to the commercial value. The wood and oil are in high demand and are an important trade item in three main regions:


title: Santalum album

text: The use of "S. album" in India is noted in literature for over two thousand years. It has use as wood and oil in religious practices, and was burned in cremation. In modern times only a small frament is added to the pyre for symbolic purposes. It also features as a construction material in temples and elsewhere. The Indian government has banned the export of the species to reduce the threat by over-harvesting. In the southern Indian states of Karnataka, Andhra Pradesh, and Tamil Nadu all trees of greater than a specified girth were the property of the state until 2001/2. Cutting of trees, even on private property, were regulated by the Forest Department After that they were allowed to be sold to private growers, but the product can only be sold to the state forest department. Annual production fell from a high of 4,000 tonnes in the early 1970s, to fewer than 300 tonnes in 2011. The decline is blamed on government policy and over-exploitation, and moves have been made to encourage planters to grow the trees again.


title: Santalum album

text: The native species, "Santalum spicatum", is more common and extensively grown in Western Australia, but there are two commercial Indian sandalwood plantations in full operation based in Kununurra, in the far north of Western Australia: Quintis (formerly Tropical Forestry Services), which in 2017 controlled around 80 per cent of the world's supply of Indian sandalwood, and Santanol.


title: Santalum album

text: The harvesting of sandalwood is preferred to be of trees that are advanced in age. Saleable wood can, however, be of trees as young as seven years. The entire plant is removed rather than cut to the base, as in coppiced species. The extensive removal of "S. album" over the past century led to increased vulnerability to extinction.


title: Santalum album

text: , small plantations of Indian sandalwood also exist in China, Indonesia, Malaysia, the Philippines and the Pacific Islands.


title: Santalum album

text: Sandalwood has been used over a longtime in China for the construction of statues and temples, and was burned in censers during religious rites.


title: Lara Jean Chorostecki

text: Lara Jean Chorostecki (born September 24, 1984) is a Canadian actress known for her role as Fredricka "Freddie" Lounds in the American psychological thriller–horror television series "Hannibal", and as Sergeant Krystina Breeland on the critically acclaimed Canadian series "X Company".


title: Lara Jean Chorostecki

text: Chorostecki was born in Brampton, Ontario, and attended Mayfield Secondary School. Chorostecki's father worked in a bank and her mother was a French teacher. She is of Polish and Scottish descent. She has a brother.


title: Lara Jean Chorostecki

text: Chorostecki became interested in acting after seeing "Les Misérables" when she was eight years old. She performed at the Stratford Festival for a number of years. Chorostecki was the youngest ever person to be accepted into the Birmingham Conservatory for Classical Theatre Training in Stratford, Ontario. She earned a Masters in Classical Acting in London, England at The Royal Central School of Speech and Drama.


title: Lara Jean Chorostecki

text: Early in her career, Chorostecki had series regular roles in the Starz series "Camelot" and the Canadian comedy Dan for Mayor as well as a recurring role in "The Listener" and the BBC America series "Copper".


title: Lara Jean Chorostecki

text: In 2013, Chorostecki starred in the Canadian romantic comedy film "Please Kill Mr. Know It All". She plays journalist Fredricka "Freddie" Lounds in the NBC drama "Hannibal".


title: Lara Jean Chorostecki

text: In 2014, Chorostecki began filming a series regular role on the CBC World War II drama "X Company", where she plays Sergeant Krystina Breeland.


title: Lara Jean Chorostecki

text: In 2016, Chorostecki was cast in the recurring role of Beth MacLeish on the ABC political drama series "Designated Survivor", which premiered in the fall of the same year.


title: Credit

text: Credit (from Latin verb "credit", meaning "one believes") is the trust which allows one party to provide money or resources to another party wherein the second party does not reimburse the first party immediately (thereby generating a debt), but promises either to repay or return those resources (or other materials of equal value) at a later date. In other words, credit is a method of making reciprocity formal, legally enforceable, and extensible to a large group of unrelated people.


title: Credit

text: The resources provided may be financial (e.g. granting a loan), or they may consist of goods or services (e.g. consumer credit). Credit encompasses any form of deferred payment. Credit is extended by a creditor, also known as a lender, to a debtor, also known as a borrower.


title: Credit

text: The term "credit" was first used in English in the 1520s. The term came "from Middle French crédit (15c.) "belief, trust," from Italian credito, from Latin creditum "a loan, thing entrusted to another," from past participle of credere "to trust, entrust, believe". The commercial meaning of "credit" "was the original one in English (creditor is [from] mid-15c.)" The derivative expression "credit union" was first used in 1881 in American English; the expression "credit rating" was first used in 1958.


title: Credit

text: Credit cards became most prominent during the 1900s. Larger companies began creating chains with other companies and used a credit card as a way to make payments to any of these companies. The companies charged the cardholder a certain annual fee and chose their billing methods while each participating company was charged a percentage of total billings. This led to the creating of credit cards on behalf of banks around the world. Some other first bank-issued credit cards include Bank of America's Bank Americard in 1958 and American Express' American Express Card also in 1958. These worked similarly to the company-issued credit cards; however, they expanded purchasing power to almost any service and they allowed a consumer to accumulate revolving credit. Revolving credit was a means to pay off a balance at a later date while incurring a finance charge for the balance.


title: Credit

text: Until the Equal Credit Opportunity Act in 1974, women in America were given credit cards under stricter terms, or not at all. It could be hard for a woman to buy a house without a male co-signer. In the past, even when not explicitly barred from them, people of color were often unable to get credit to buy a house in white neighborhoods.


title: Credit

text: Bank-issued credit makes up the largest proportion of credit in existence. The traditional view of banks as intermediaries between savers and borrowers is incorrect. Modern banking is about credit creation. Credit is made up of two parts, the credit (money) and its corresponding debt, which requires repayment with interest. The majority (97% as of December 2013) of the money in the UK economy is created as credit. When a bank issues credit (i.e. makes a loan), it writes a negative entry in to the liabilities column of its balance sheet, and an equivalent positive figure on the assets column; the asset being the loan repayment income stream (plus interest) from a credit-worthy individual. When the debt is fully repaid, the credit and debt are canceled, and the money disappears from the economy. Meanwhile, the debtor receives a positive cash balance (which is used to purchase something like a house), but also an equivalent negative liability to be repaid to the bank over the duration. Most of the credit created goes into the purchase of land and property, creating inflation in those markets, which is a major driver of the economic cycle.


title: Credit

text: When a bank creates credit, it effectively owes the money to itself. If a bank issues too much bad credit (those debtors who are unable to pay it back), the bank will become insolvent; having more liabilities than assets. That the bank never had the money to lend in the first place is immaterial - the banking license affords banks to create credit - what matters is that a bank's total assets are greater than its total liabilities and that it is holding sufficient liquid assets - such as cash - to meet its obligations to its debtors. If it fails to do this it risks bankruptcy or banking license withdrawal.


title: Credit

text: There are two main forms of private credit created by banks; unsecured (non-collateralized) credit such as consumer credit cards and small unsecured loans, and secured (collateralized) credit, typically secured against the item being purchased with the money (house, boat, car, etc.). To reduce their exposure to the risk of not getting their money back (credit default), banks will tend to issue large credit sums to those deemed credit-worthy, and also to require collateral; something of equivalent value to the loan, which will be passed to the bank if the debtor fails to meet the repayment terms of the loan. In this instance, the bank uses the sale of the collateral to reduce its liabilities. Examples of secured credit include consumer mortgages used to buy houses, boats, etc., and PCP (personal contract plan) credit agreements for automobile purchases.


title: Credit

text: Movements of financial capital are normally dependent on either credit or equity transfers. The global credit market is three times the size of global equity. Credit is in turn dependent on the reputation or creditworthiness of the entity which takes responsibility for the funds. Credit is also traded in financial markets. The purest form is the credit default swap market, which is essentially a traded market in credit insurance. A credit default swap represents the price at which two parties exchange this riskthe protection "seller" takes the risk of default of the credit in return for a payment, commonly denoted in basis points (one basis point is 1/100 of a percent) of the notional amount to be referenced, while the protection "buyer" pays this premium and in the case of default of the underlying (a loan, bond or other receivable), delivers this receivable to the protection seller and receives from the seller the paramount (that is, is made whole).


title: Credit

text: There are many types of credit, including but not limited to bank credit, commerce, consumer credit, investment credit, international credit, and public credit.


title: Credit

text: In commercial trade, the term "trade credit" refers to the approval of delayed payment for purchased goods. Credit is sometimes not granted to a buyer who has financial instability or difficulty. Companies frequently offer trade credit to their customers as part of terms of a purchase agreement. Organizations that offer credit to their customers frequently employ a credit manager.


title: Credit

text: Consumer credit can be defined as "money, goods or services provided to an individual in the absence of immediate payment". Common forms of consumer credit include credit cards, store cards, motor vehicle finance, personal loans (installment loans), consumer lines of credit, payday loans, retail loans (retail installment loans) and mortgages. This is a broad definition of consumer credit and corresponds with the Bank of England's definition of "Lending to individuals". Given the size and nature of the mortgage market, many observers classify mortgage lending as a separate category of personal borrowing, and consequently, residential mortgages are excluded from some definitions of consumer credit, such as the one adopted by the U.S. Federal Reserve.


title: Credit

text: The cost of credit is the additional amount, over and above the amount borrowed, that the borrower has to pay. It includes interest, arrangement fees and any other charges. Some costs are mandatory, required by the lender as an integral part of the credit agreement. Other costs, such as those for credit insurance, may be optional; the borrower chooses whether or not they are included as part of the agreement.


title: Credit

text: Interest and other charges are presented in a variety of different ways, but under many legislative regimes lenders are required to quote all mandatory charges in the form of an annual percentage rate (APR). The goal of the APR calculation is to promote "truth in lending", to give potential borrowers a clear measure of the true cost of borrowing and to allow a comparison to be made between competing products. The APR is derived from the pattern of advances and repayments made during the agreement. Optional charges are usually not included in the APR calculation.


title: Credit

text: Interest rates on loans to consumers, whether mortgages or credit cards are most commonly determined with reference to a credit score. Calculated by private credit rating agencies or centralized credit bureaus based on factors such as prior defaults, payment history, and available credit, individuals with higher credit scores have access to lower APRs than those with lower scores.


title: Fred Zinnemann

text: Alfred "Fred" Zinnemann (April 29, 1907 – March 14, 1997) was an Austrian Empire-born American film director. He won four Academy Awards for directing and producing films in various genres, including thrillers, westerns, film noir and play adaptations. He made 25 feature films during his 50-year career.


title: Fred Zinnemann

text: He was among the first directors to insist on using authentic locations and for mixing stars with civilians to give his films more realism. Within the film industry, he was considered a maverick for taking risks and thereby creating unique films, with many of his stories being dramas about lone and principled individuals tested by tragic events. According to one historian, Zinnemann's style demonstrated his sense of "psychological realism and his apparent determination to make worthwhile pictures that are nevertheless highly entertaining."


title: Fred Zinnemann

text: Among his films were "The Search" (1948), "The Men" (1950), "High Noon" (1952), "From Here to Eternity" (1953), "Oklahoma!" (1955), "The Nun's Story" (1959), "A Man For All Seasons" (1966), "The Day of the Jackal" (1973), and "Julia" (1977). His films have received 65 Oscar nominations, winning 24; Zinnemann himself was nominated for ten, and won Best Director for "From Here to Eternity" (1953), Best Picture and Best Director for "A Man for All Seasons" (1966), and Best Documentary, Short Subjects for "Benjy" (1951).


title: Fred Zinnemann

text: Zinnemann directed and introduced a number of stars in their U.S. film debuts, including Marlon Brando, Rod Steiger, Pier Angeli, Julie Harris, Brandon deWilde, Montgomery Clift, Shirley Jones and Meryl Streep. He directed 19 actors to Oscar nominations, including Frank Sinatra, Montgomery Clift, Audrey Hepburn, Glynis Johns, Paul Scofield, Robert Shaw, Wendy Hiller, Jason Robards, Vanessa Redgrave, Jane Fonda, Gary Cooper and Maximilian Schell.


title: Fred Zinnemann

text: Zinnemann was born in Rzeszów, the son of Anna (Feiwel) and Oskar Zinnemann, a doctor. His parents were Austrian Jews. He had one younger brother. While growing up in Austria, he wanted to become a musician, but went on to graduate with a law degree from the University of Vienna in 1927.


title: Fred Zinnemann

text: While studying law, he became drawn to films and convinced his parents to let him study film production in Paris. After studying for a year at the Ecole Technique de Photographie et Cinématographie in Paris, he became a cameraman and found work on a number of films in Berlin, before emigrating to Hollywood. Both of his parents were killed during the Holocaust.


title: Fred Zinnemann

text: Zinnemann worked in Germany with several other beginners (Billy Wilder and Robert Siodmak also worked with him on the 1929 feature "People on Sunday") after he studied filmmaking in France. His penchant for realism and authenticity is evident in his first feature "The Wave" (1936), shot on location in Mexico with mostly non-professional actors recruited among the locals, which is one of the earliest examples of social realism in narrative film. Earlier in the decade, in fact, Zinnemann had worked with documentarian Robert Flaherty, "probably the greatest single influence on my work as a filmmaker", he said.


title: Fred Zinnemann

text: Although he was fascinated by the artistic culture of Germany, with its theater, music and films, he was also aware that the country was in a deep economic crisis. He became disenchanted with Berlin after continually seeing decadent ostentation and luxury existing alongside desperate unemployment. The wealthy classes were moving more to the political right and the poor to the left. "Emotion had long since begun to displace reason," he said. As a result of the changing political climate, along with the fact that sound films had arrived in Europe, which was technically unprepared to produce their own, film production throughout Europe slowed dramatically. Zinnemann, then only 21, got his parents' permission to go to America where he hoped filmmaking opportunities would be greater.


title: Fred Zinnemann

text: He arrived in New York at the end of October 1929, at the time of the stock market crash. Despite the financial panic then beginning, he found New York to be a different cultural environment:


title: Fred Zinnemann

text: He took a Greyhound bus to Hollywood a few months later following the completion of his first directorial effort for the Mexican cultural protest film, "The Wave", in Alvarado, Mexico. He established residence in North Hollywood with Henwar Rodakiewicz, Gunther von Fritsch and Ned Scott, all fellow contributors to the Mexican project. One of Zinnemann's first jobs in Hollywood was as an extra in "All Quiet on the Western Front" (1930). He said that many of the other extras were former Russian aristocrats and high-ranking officers who fled to America after the Russian revolution in 1917.


title: Fred Zinnemann

text: He was twenty-two but he said he felt older than the forty-year-olds in Hollywood. But he was jubilant because he was then certain that "this was the place one could breathe free and belong." But after a few years he became disillusioned with the limited talents of Hollywood's elites.


title: Fred Zinnemann

text: After some directing success with short films, he graduated to features in 1942, turning out two B mysteries, "Kid Glove Killer and" "Eyes in the Night" before getting his big break with "The Seventh Cross" (1944), starring Spencer Tracy, which became his first hit. The film was based on Anna Seghers' novel and, while filmed entirely on the MGM backlot, made realistic use of refugee German actors in even the smallest roles. The central character—an escaped prisoner played by Tracy—is seen as comparatively passive and fatalistic. He is, however, the subject of heroic assistance from anti-Nazi Germans. In a sense, the most dynamic character of the film is not the Tracy character but a humble German worker played by Hume Cronyn, who changes from Nazi sympathizer to active opponent of the regime as he aids Tracy.


title: Fred Zinnemann

text: After World War II, Zinnemann learned that both of his parents had been murdered in the Holocaust. He was frustrated by his studio contract, which dictated that he did not have a choice in directing films like "Little Mister Jim" (1946) and "My Brother Talks to Horses" (1947) despite his lack of interest in their subject matter. However, his next film, "The Search" (1948), won an Oscar for screenwriting and secured his position in the Hollywood establishment. Shot in war-ravaged Germany, the film stars Montgomery Clift in his screen debut as a GI who cares for a lost Czech boy traumatized by the war. It was followed by "Act of Violence" (1948), a gritty film noir starring Van Heflin as a haunted POW, Robert Ryan as his hot-tempered former friend, Janet Leigh as Heflin's wife, and Mary Astor as a sympathetic prostitute. Zinnemann considered "Act of Violence" the first project in which he "felt comfortable knowing exactly what I wanted and exactly how to get it."


title: Fred Zinnemann

text: "The Men" (1950) stars Marlon Brando as a paraplegic war veteran. It was Brando's first film. Zinnemann filmed many scenes in a California hospital where real patients served as extras. It was followed by "Teresa" (1951), starring Pier Angeli.


title: Fred Zinnemann

text: Perhaps Zinnemann's best-known work is "High Noon" (1952), one of the first 25 American films chosen in 1989 for the National Film Registry. With its psychological and moral examinations of its lawman hero Marshall Will Kane, played by Gary Cooper and its innovative chronology whereby screen time approximated the 80-minute countdown to the confrontational hour, the film broke the mold of the formulaic western. Working closely with cinematographer and longtime friend Floyd Crosby, he shot without filters, giving the landscape a harsh "newsreel" quality that clashed with the more painterly cinematography of John Ford's westerns. During production he established a strong rapport with Gary Cooper, photographing the aging actor in many tight close-ups which showed him sweating, and at one point, even crying on screen.


title: Fred Zinnemann

text: Screenwriter Carl Foreman apparently intended "High Noon" to be an allegory of Senator Joseph McCarthy's vendetta against alleged Communists. However, Zinnemann disagreed, insisting, late in life, that the issues in the film, for him, were broader, and were more about conscience and independent, uncompromising fearlessness. He says, ""High Noon" is "not a Western, as far as I'm concerned; it just happens to be set in the Old West."


title: Fred Zinnemann

text: Film critic Stephen Prince suggests that the character of Kane actually represents Zinnemann, who tried to create an atmosphere of impending threat on the horizon, a fear of potential "fascism", represented by the gang of killers soon arriving. Zinnemann explained the general context for many of his films: "One of the crucial things today [is] trying to preserve our civilization."


title: Fred Zinnemann

text: Prince adds that Zinnemann, having learned that both his parents were murdered in the Holocaust, wanted Kane willing to "fight rather than run", unlike everyone else in town. As a result, "Zinnemann allies himself" with the film's hero. Zinnemann explains the theme of the film and its relevance to modern times:


title: Fred Zinnemann

text: For his screen adaptation of the play "The Member of the Wedding" (1952), Zinnemann chose Julie Harris as the film's 12-year-old protagonist, although she was by then 26 years old. Two years earlier Harris had created the role on Broadway just as the two other leading actors, Ethel Waters and Brandon deWilde, had.


title: Fred Zinnemann

text: Zinnemann's next film, "From Here to Eternity" (1953), based on the novel by James Jones, was nominated for 13 Academy Awards and would go on to win 8, including Best Picture and Best Director. Zinnemann fought hard with producer Harry Cohn to cast Montgomery Clift as the character of Prewitt, although Frank Sinatra, who was at the lowest point of his popularity, cast himself in the role of "Maggio" against Zinnemann's wishes. Sinatra would later win an Oscar for Best Supporting Actor. "From Here to Eternity" also featured Deborah Kerr, best known for prim and proper roles, as a philandering Army wife. Donna Reed played the role of Alma "Lorene" Burke, a prostitute and mistress of Montgomery Clift's character which earned her an Academy Award for Best Supporting Actress for 1953.


title: Fred Zinnemann

text: In "Oklahoma!" (1955), Zinnemann's version of the Rodgers and Hammerstein musical, the wide screen format Todd-AO made its debut, as did the film's young star, Shirley Jones. It was also an expression of Zinnemann's continued faith and optimism about America, with its energy and exuberance.


title: Fred Zinnemann

text: His next film was "A Hatful of Rain" (1957), starring Don Murray, Eva Marie Saint and Anthony Franciosa, and was based on the play by Michael V. Gazzo. It is a drama story about a young married man with a secret morphine addiction who tries to quit and suffers through painful withdrawal symptoms. The film was a risk for Zinnemann, since movie depictions of drug addiction and withdrawal were rare in the 1950s.


title: Fred Zinnemann

text: Zinnemann rounded out the 1950s with "The Nun's Story" (1959), casting Audrey Hepburn in the role of Sister Luke, a nun who eventually gives up the religious life to join the Belgian resistance in the Second World War. The film was based on the life of Marie Louise Habets. Hepburn, who gave up the chance to play Anne Frank in order to work on "The Nun's Story", considered the film to be her best and most personal work. Zinnemann's style of cutting from close-up to close-up was heavily influenced by Carl Theodor Dreyer's "The Passion of Joan of Arc" (1928), his favorite film. He was grateful that Hepburn was easy to work with:


title: Fred Zinnemann

text: "The Sundowners" (1960), starring Robert Mitchum and Deborah Kerr as an Australian outback husband and wife, led to more Academy Award nominations, including Best Picture, Best Director, Best Screenplay, Best Actress (Kerr) and Best Supporting Actress (Glynis Johns), but won none. "Behold A Pale Horse" (1964) was a post-Spanish Civil War epic based on the book "Killing a Mouse on Sunday" by Emeric Pressburger and starred Gregory Peck, Anthony Quinn and Omar Sharif, but was both a critical and commercial flop; Zinnemann would later admit that the film "didn't really come together."


title: Fred Zinnemann

text: Zinnemann's fortunes changed once again with "A Man for All Seasons" (1966), scripted by Robert Bolt from his own play and starring Paul Scofield as Sir Thomas More, portraying him as a man driven by conscience to his ultimate fate. The film went on to win six Academy Awards, including Best Picture, Best Actor (Scofield) and Best Director, Zinnemann's second such Oscar to date. The film was also entered into the 5th Moscow International Film Festival.


title: Fred Zinnemann

text: After this, Zinnemann was all set to direct an adaptation of "Man's Fate" for MGM. However, the project was shut down in 1969, and the studio attempted to hold Zinnemann responsible for at least $1 million of the $3.5 million that had already been spent on pre-production. In protest, Zinnemann filed a lawsuit against the studio, and it would be four years before he would make his next film.


title: Fred Zinnemann

text: By the early 1970s, Zinnemann had been out of work since the cancellation of "Man's Fate"; he believed it had "marked the end of an era in picture making and the dawn of a new one, when lawyers and accountants began to replace showmen as head of the studios and when a handshake was a handshake no longer." However, Universal then offered him the chance to direct "The Day of the Jackal" (1973), based on the best-selling suspense novel by Frederick Forsyth. The film starred Edward Fox as an English assassin hired to kill French president Charles de Gaulle, and Michael Lonsdale as the French detective charged with stopping him. Zinnemann was intrigued by the opportunity to direct a film in which the audience would already be able to guess the ending (the Jackal failing his mission), and was pleased when it ultimately became a hit with the public.


title: Fred Zinnemann

text: "The Day of the Jackal" was followed four years later by "Julia" (1977), based on a story in the book "Pentimento" by Lillian Hellman. The film starred Jane Fonda as Hellman and Vanessa Redgrave as her best friend Julia, a doomed American heiress who forsakes the safety and comfort of great wealth to devote her life to the anti-Nazi cause in Germany. The film was nominated for 11 Academy Awards and won three, for Best Screenplay (Alvin Sargent), Best Supporting Actor (Jason Robards), and Best Supporting Actress for Redgrave, who drew scattered boos on Oscar night for her "Zionist hoodlums" acceptance speech. Zinnemann thought that Fonda's acting was extraordinary and she also deserved an Oscar.


title: Fred Zinnemann

text: Zinnemann's final film was "Five Days One Summer" (1982), filmed in Switzerland and based on the short story "Maiden, Maiden" by Kay Boyle. It starred Sean Connery and Betsy Brantley as a "couple" vacationing in the Alps in the 1930s, and a young Lambert Wilson as a mountain-climbing guide who grows heavily suspicious of their relationship. The film was both a critical and commercial flop, although Zinnemann would be told by various critics in later years that they considered it an underrated achievement. Zinnemann blamed the film's critical and commercial failure for his retirement from filmmaking: "I'm not saying it was a good picture. But there was a degree of viciousness in the reviews. The pleasure some people took in tearing down the film really hurt."


title: Fred Zinnemann

text: Zinnemann is often regarded as striking a blow against ageism in Hollywood. The apocryphal story goes that in the 1980s, during a meeting with a young Hollywood executive, Zinnemann was surprised to find the executive didn't know who he was, despite having won four Academy Awards, and directing many of Hollywood's biggest films. When the young executive asked Zinnemann to list what he had done in his career, Zinnemann reportedly answered, "Sure. You first." In Hollywood, the story is known as "You First," and is often alluded to when veteran creators find that upstarts are unfamiliar with their work.


title: Fred Zinnemann

text: Zinnemann insisted, "I've been trying to disown that story for years. It seems to me Billy Wilder told it to me about himself."


title: Fred Zinnemann

text: Zinnemann died of a heart attack in London, England on March 14, 1997. He was 89 years old. Zinneman's remains were cremated at Kensal Green Cemetery and the cremated remains were collected from the cemetery. His wife died on December 18, 1997.


title: Fred Zinnemann

text: Zinnemann's training in documentary filmmaking and his personal background contributed to his style as a "social realist." With his early films between 1937 and 1942 he began using that technique, and with "High Noon" in 1952, possibly his finest film, he created the tense atmosphere by coordinating screen time with real time.