title: Anthem

text: A national anthem (also state anthem, national hymn, national song, etc.) is generally a patriotic musical composition that evokes and eulogizes the history, traditions, and struggles of a country's people, recognized either by that state's government as the official national song, or by convention through use by the people. The majority of national anthems are marches or hymns in style. The countries of Latin America, Central Asia, and Europe tend towards more ornate and operatic pieces, while those in the Middle East, Oceania, Africa, and the Caribbean use a simpler fanfare. Some countries that are devolved into multiple constituent states have their own official musical compositions for them (such as with the United Kingdom, Russian Federation, and the former Soviet Union); their constituencies' songs are sometimes referred to as national anthems even though they are not sovereign states.


title: Anthem

text: A flag anthem is generally a patriotic musical composition that extols and praises a flag, typically one of a country, in which case it is sometimes called a national flag anthem. It is often either sung or performed during or immediately before the raising or lowering of a flag during a ceremony. Most countries use their respective national anthems or some other patriotic song for this purpose. However, some countries, particularly in South America, use a separate flag anthem for such purposes. Not all countries have flag anthems. Some used them in the past but no longer do so, such as Iran, China, and South Africa. Flag anthems can be officially codified in law, or unofficially recognized by custom and convention. In some countries, the flag anthem may be just another song, and in others, it may be an official symbol of the state akin to a second national anthem, such as in Taiwan.


title: Anthem

text: Many pop songs are used as sports anthems, notably including Queen's "We Are the Champions" and "We Will Rock You", and some sporting events have their own anthems, most notably including UEFA Champions League.


title: Anthem

text: Although anthems are used to distinguish states and territories, there are instances of shared anthems. "Nkosi Sikelel' iAfrika" became a pan-African liberation anthem and was later adopted as the national anthem of five countries in Africa including Zambia, Tanzania, Namibia and Zimbabwe after independence. Zimbabwe and Namibia have since adopted new national anthems. Since 1997, the South African national anthem has been a hybrid song combining new English lyrics with extracts of "Nkosi Sikelel' iAfrika" and the former state anthem "Die Stem van Suid-Afrika".


title: Anthem

text: "Hymn to Liberty" is the longest national anthem in the world by length of text. In 1865, the first three stanzas and later the first two officially became the national anthem of Greece and later also that of the Republic of Cyprus.


title: Anthem

text: "Forged from the Love of Liberty" was composed as the national anthem for the short-lived West Indies Federation (1958–1962) and was adopted by Trinidad and Tobago when it became independent in 1962.


title: Anthem

text: "Esta É a Nossa Pátria Bem Amada" is the national anthem of Guinea-Bissau and was also the national anthem of Cape Verde until 1996.


title: Anthem

text: "Oben am jungen Rhein", the national anthem of Liechtenstein, is set to the tune of "God Save the King/Queen". Other anthems that have used the same melody include "Heil dir im Siegerkranz" (Germany), "Kongesangen" (Norway), "My Country, 'Tis of Thee" (USA), "Rufst du, mein Vaterland" (Switzerland), "E Ola Ke Alii Ke Akua" (Hawaii), and "The Prayer of Russians".


title: Anthem

text: The Estonian anthem "Mu isamaa, mu õnn ja rõõm" is set to a melody composed in 1848 by Fredrik (Friedrich) Pacius which is also that of the national anthem of Finland: "Maamme" ("Vårt Land" in Swedish). It is also considered to be the ethnic anthem for the Livonian people with lyrics "Min izāmō, min sindimō" ("My Fatherland, my native land").


title: Anthem

text: "Hey, Slavs" is dedicated to Slavic peoples. Its first lyrics were written in 1834 under the title "Hey, Slovaks" ("Hej, Slováci") by Samuel Tomášik and it has since served as the ethnic anthem of the Pan-Slavic movement, the organizational anthem of the Sokol physical education and political movement, the national anthem of Yugoslavia and the transitional anthem of the State Union of Serbia and Montenegro. The song is also considered to be the second, unofficial anthem of the Slovaks. Its melody is based on Mazurek Dąbrowskiego, which has also been the anthem of Poland since 1926, but the Yugoslav variation is much slower and more accentuated.


title: Anthem

text: Between 1991 and 1994 "Deșteaptă-te, române!" was the national anthem of both Romania (which adopted it in 1990) and Moldova, but in the case of the latter it was replaced by the current Moldovan national anthem, "Limba noastră". Between 1975 and 1977, the national anthem of Romania "E scris pe tricolor Unire" shared the same melody as the national anthem of Albania "Himni i Flamurit", which is the melody of a Romanian patriotic song "Pe-al nostru steag e scris Unire".


title: Anthem

text: The modern national anthem of Germany, "Das Lied der Deutschen", uses the same tune as the 19th- and early 20th-century Austro-Hungarian imperial anthem "Gott erhalte Franz den Kaiser".


title: Anthem

text: The "Hymn of the Soviet Union", was used until its dissolution in 1991, and was given new words and adopted by the Russian Federation in 2000 to replace an instrumental national anthem that had been introduced in 1990.


title: Anthem

text: "Bro Gozh ma Zadoù", the regional anthem of Brittany and, "Bro Goth Agan Tasow", the Cornish regional anthem, are sung to the same tune as that of the Welsh regional anthem "Hen Wlad Fy Nhadau", with similar words.


title: Anthem

text: Some countries, such as the former Soviet Union, Spain, and the United Kingdom, among others, are held to be unions of several "nations" by various definitions. Each of the different "nations" may have their own anthem and these songs may or may not be officially recognized; these compositions are typically referred to as regional anthems though may be known by other names as well (e.g. "state songs" in the United States).


title: Anthem

text: In Austria, the situation is similar to that in Germany. The regional anthem of Upper Austria, the "Hoamatgsang" (), is notable as the only (official) German-language anthem written – and sung – entirely in dialect.


title: Anthem

text: Most of the Brazilian states have official anthems. Minas Gerais uses an adapted version of the traditional Italian song "Vieni sul mar" as its unofficial anthem. During the Vargas Era (1937–1945) all regional symbols including anthems were banned, but they were legalized again by the Eurico Gaspar Dutra government.


title: Anthem

text: The Canadian province of Newfoundland and Labrador, having been the independent Dominion of Newfoundland before 1949, also has its own regional anthem from its days as a dominion and colony of the UK, the "Ode to Newfoundland". It was the only Canadian province with its own anthem until 2010, when Prince Edward Island adopted the 1908 song "The Island Hymn" as its provincial anthem.


title: Anthem

text: Czechoslovakia had a national anthem composed of two parts, the Czech anthem followed by one verse of the Slovak one. After the dissolution of Czechoslovakia, the Czech Republic adopted its own regional anthem as its national one, whereas Slovakia did so with slightly changed lyrics and an additional stanza.


title: Anthem

text: In Germany, many of the Länder (states) have their own anthems, some of which predate the unification of Germany in 1871. A prominent example is the Hymn of Bavaria, which also has the status of an official anthem (and thus enjoys legal protection). There are also several unofficial regional anthems, like the "Badnerlied" and the "Niedersachsenlied".


title: Anthem

text: Some of the states and union territories of India have officially adopted their own state anthem for use during state government functions.


title: Anthem

text: In Mexico, after the national anthem was established in 1854, most of the states of the federation adopted their own regional anthems, which often emphasize heroes, virtues or particular landscapes. In particular, the regional anthem of Zacatecas, the "Marcha de Zacatecas", is one of the more well-known of Mexico's various regional anthems.


title: Anthem

text: In 2005 and 2004 respectively, the Serbian and Montenegrin regions of Serbia and Montenegro adopted their own regional anthems. When the two regions both became independent countries in mid-2006, their regional anthems became their national ones.


title: Anthem

text: Fourteen of the fifteen constituent states of the Soviet Union had their own official song which was used at events connected to that region, and also written and sung in that region's own language. The Russian Soviet Federative Socialist Republic used the Soviet Union's national anthem as its regional anthem ("The Internationale" from 1917 to 1944 and the "National Anthem of the Soviet Union" from 1944 to 1990) until 1990, the last of the Soviet constituent states to do so. After the Soviet Union disbanded in the early 1990s, some of its former constituent states, now sovereign nations in their own right, retained the melodies of their old Soviet-era regional anthems until replacing them or, in some cases, still use them today.


title: Anthem

text: Unlike most national anthems, few of which were composed by renowned composers, the Soviet Union's various regional anthems were composed by some of the best Soviet composers, including world-renowned Gustav Ernesaks (Estonia), Aram Khachaturian (Armenia), Otar Taktakishvili (Georgia), and Uzeyir Hajibeyov (Azerbaijan).


title: Anthem

text: The lyrics present great similarities, all having mentions to Vladimir Lenin (and most, in their initial versions, to Joseph Stalin, the Armenian and Uzbek anthems being exceptions), to the guiding role of the Communist Party of the Soviet Union, and to the brotherhood of the Soviet peoples, including a specific reference to the friendship of the Russian people (the Estonian, Georgian and Karelo-Finnish anthems were apparently an exception to this last rule).


title: Anthem

text: Some of the Soviet regional anthems' melodies can be sung in the Soviet Union anthem lyrics (Ukrainian and Belarus are the most fitted in this case).


title: Anthem

text: Most of these regional anthems were replaced with new national ones during or after the dissolution of the Soviet Union; Belarus, Kazakhstan (until 2006), Tajikistan, Turkmenistan (until 1997), and Uzbekistan kept the melodies, but with different lyrics. Russia itself had abandoned the Soviet hymn, replacing it with a tune by Glinka. However, with Vladimir Putin coming to power, the old Soviet tune was restored, with new lyrics written to it.


title: Anthem

text: Like the hammer and sickle and red star, the public performance of the anthems of the Soviet Union's various regional anthems the national anthem of the Soviet Union itself are considered as occupation symbols as well as symbols of totalitarianism and state terror by several countries formerly either members of or occupied by the Soviet Union. Accordingly, Latvia, Lithuania, Hungary, and Ukraine have banned those anthems amongst other things deemed to be symbols of fascism, socialism, communism, and the Soviet Union and its republics. In Poland, dissemination of items which are “media of fascist, communist, or other totalitarian symbolism” was criminalized in 1997. However, in 2011 the Constitutional Tribunal found this sanction to be unconstitutional. In contrast to this treatment of the "symbolism", promotion of fascist, communist and other totalitarian "ideology" remains illegal. Those laws do not apply to the anthems of Russia, Belarus, Uzbekistan, Kazakhstan, and Tajikistan which used the melody with different lyrics.


title: Anthem

text: In Spain, the situation is similar to that in Austria and Germany. Unlike the national anthem, most of the anthems of the autonomous communities have words. All are official. Three prominent examples are "Els Segadors" of Catalonia, "Eusko Abendaren Ereserkia" of the Basque Country, and "Os Pinos" of Galicia, all written and sung in the local languages.


title: Anthem

text: The United Kingdom's national anthem is "God Save the King" but its constituent countries and Crown Dependencies also have their own equivalent songs which have varying degrees of official recognition. England, Scotland, Wales, and Northern Ireland each have anthems which are played at occasions such as sports matches and official events.


title: Anthem

text: The Isle of Man, a Crown dependency, uses "God Save the King" as a Royal anthem, but also has its own local anthem, "O Land of Our Birth" (Manx: ""O Halloo Nyn Ghooie"").


title: Anthem

text: Although the United States has "The Star-Spangled Banner" as its official national anthem, all except two of its constituent states and territories also has its own regional anthem (referred to by most US states as a "state song"), along with Washington, DC. The two exceptions are New Jersey, which has never had an official state song, and Maryland, which rescinded


title: Anthem

text: The state songs are selected by each state legislature, and/or state governor, as a symbol (or emblem) of that particular US state.


title: Anthem

text: Some US states have more than one official state song, and may refer to some of their official songs by other names; for example, Arkansas officially has two state songs, plus a state anthem, and a state historical song. Tennessee has the most state songs, with 9 official state songs and an official bicentennial rap.


title: Anthem

text: Arizona has a song that was written specifically as a state anthem in 1915, as well as the 1981 country hit "Arizona", which it adopted as the alternate state anthem in 1982.


title: Anthem

text: Two individuals, Stephen Foster, and John Denver, have written or co-written two state songs. Foster's two state songs, "Old Folks at Home" (better known as "Swanee Ribber" or "Suwannee River"), adopted by Florida, and "My Old Kentucky Home" are among the best-known songs in the US On March 12, 2007, the Colorado Senate passed a resolution to make Denver's trademark 1972 hit "Rocky Mountain High" one of the state's two official state songs, sharing duties with its predecessor, "Where the Columbines Grow". On March 7, 2014, the West Virginia Legislature approved a resolution to make Denver's "Take Me Home, Country Roads" one of four official state songs of West Virginia. Governor Earl Ray Tomblin signed the resolution into law on March 8, 2014.


title: Anthem

text: Additionally, Woody Guthrie wrote or co-wrote two state "folk songs" – Roll On, Columbia, Roll On and Oklahoma Hills – but they have separate status from the official state "songs" of Washington and Oklahoma, respectively. Other well-known state songs include "Yankee Doodle", "You Are My Sunshine", "Rocky Top", and "Home on the Range"; a number of others are popular standards, including "Oklahoma" (from the Rodgers and Hammerstein musical), Hoagy Carmichael's "Georgia on My Mind", "Tennessee Waltz", "Missouri Waltz", and "On the Banks of the Wabash, Far Away". Many of the others are much less well-known, especially outside the state.


title: Anthem

text: New Jersey has no official state song, while Virginia's previous state song, "Carry Me Back to Old Virginny", adopted in 1940, was later rescinded in 1997 due to its racist language by the Virginia General Assembly. In 2015, "Our Great Virginia" was made the new state song of Virginia.


title: Anthem

text: Iowa ("The Song of Iowa") uses the tune from the song "O Tannenbaum" as the melody to its official state song.


title: Anthem

text: In Yugoslavia, each of the country's constituent states (except for Bosnia and Herzegovina) had the right to have its own anthem, but only the Croatian one actually did so initially, later joined by the Slovene one on the brink of the breakup of Yugoslavia. Before 1989, Macedonia did not officially use a regional anthem, even though one was proclaimed during the World War II by ASNOM.


title: Anthem

text: Larger entities also sometimes have anthems, in some cases known as 'international anthems'. "Lullaby" is the official anthem of UNICEF composed by Steve Barakatt. "The Internationale" is the organizational anthem of the socialist movement and the communist movement. Before March 1944, it was also the anthem of the Soviet Union and the Comintern. ASEAN Way is the official anthem of ASEAN. The tune of the "Ode to Joy" from Beethoven's Symphony No. 9 is the official anthem of the European Union and of the Council of Europe. Let's All Unite and Celebrate is the official anthem of the African Union ("Let Us All Unite and Celebrate Together").


title: Anthem

text: The Olympic Movement also has its own organizational anthem. Esperanto speakers at meetings often use the song "La Espero" as their linguistic anthem. The first South Asian Anthem by poet-diplomat Abhay K may inspire SAARC to come up with an official SAARC Anthem.


title: Anthem

text: "Ireland's Call" was commissioned as the sporting anthem of both the Ireland national rugby union team and the Ireland national rugby league team, which are composed of players from both jurisdictions on the island of Ireland, in response to dissatisfaction among Northern Ireland unionists with the use of the Irish national anthem. "Ireland's Call" has since been used by some other all-island bodies.


title: Anthem

text: An international anthem also unifies a group of organizations sharing the same appellation such as the International Anthem of the Royal Golf Clubs composed by Steve Barakatt. Same applies to the European Broadcasting Union: the prelude of Te Deum in D Major by Marc-Antoine Charpentier is played before each official Eurovision and Euroradio broadcast. The prelude's first bars are heavily associated with the Eurovision Song Contest.


title: Anthem

text: Various artists have created "Earth Anthems" for the entire planet, typically extolling the ideas of planetary consciousness. Though UNESCO have praised the idea of a global anthem, the UN has never adopted an official song.


title: Donald Crisp

text: Donald William Crisp (27 July 188225 May 1974) was an English film actor as well as an early producer, director and screenwriter. His career lasted from the early silent film era into the 1960s. He won an Academy Award for Best Supporting Actor in 1942 for his performance in "How Green Was My Valley".


title: Donald Crisp

text: Donald Crisp was born George William Crisp in Bow, London, in a family home on 27 July 1882. He was the youngest of ten children (four boys and six girls) born to Elizabeth (née Christy) and James Crisp, a labourer. He was educated locally and in 1901 was living with his parents and working as a driver of a horse-drawn vehicle.


title: Donald Crisp

text: Crisp made a number of claims about his early life that were eventually proven false decades after his death. He claimed that he was born in 1880 in Aberfeldy in Perthshire, Scotland, and even went so far as to maintain a Scottish accent throughout his life in Hollywood. In fact, he had no connections to Scotland, but in 1996, a plaque commemorating him was unveiled by Scottish comedian Jimmy Logan in Crisp's supposed hometown of Aberfeldy. He claimed on alternative occasions that his father was a cattle farmer, a country doctor or a royal physician to King Edward VII. He also claimed that he was educated at Eton and Oxford, and that he served as a trooper in the 10th Hussars in the Boer War.


title: Donald Crisp

text: While travelling on the SS "Carmania" to the United States in July 1906, Crisp's singing talents during a ship's concert caught the attention of opera impresario John C. Fisher, who immediately offered him a job with his company. Crisp spent his first year in New York City in the Grand Opera, and the following year as a stage director. It was while touring with the company in the United States and Cuba that Crisp first became interested in the theatre. By 1910, Crisp, now using the name Donald (he retained George as a middle name), was working as a stage manager for the renowned entertainer, composer, playwright and director George M. Cohan. It was during this time he met and befriended film director D.W. Griffith. When Griffith ventured west, to seek his fortune in Hollywood in 1912, Crisp accompanied him.


title: Donald Crisp

text: From 1908 to 1930, Crisp, in addition to directing dozens of films, also appeared in nearly 100 silent films, though many in bit or small parts. One notable exception was his casting by Griffith as General Ulysses S. Grant in Griffith's landmark film "The Birth of a Nation" in 1915. Another was his role in Griffith's 1919 film "Broken Blossoms" as "Battling Burrows", the brutal and abusive father of the film's heroine, Lucy Burrows (played by Lillian Gish; the actress was only 11 years his junior).


title: Donald Crisp

text: Crisp worked as an assistant to Griffith for several years and learned much during this time from Griffith, an early master of film story telling who was influential in advancing a number of early techniques, such as cross cutting in editing his films. This experience fostered a similar passion in Crisp to become a director in his own right. His first directing credit was "Little Country Mouse", made in 1914. Many directors (and actors) would find themselves turning out a dozen or more films in a single year at this time. Over the next fifteen years, Crisp directed some 70 films in all, most notably "The Navigator" (1924) with Buster Keaton and "Don Q, Son of Zorro" (1925) with Douglas Fairbanks.


title: Donald Crisp

text: When asked later by an interviewer why he eventually gave up directing and returned full-time to acting, Crisp commented that directing had become extremely wearisome because he was so often called upon, if not forced, to do favours for studio chiefs by agreeing to employ their relatives in his films. His final directorial effort was the film "The Runaway Bride" (1930).


title: Donald Crisp

text: Between working for Griffith and other producers, along with his many acting roles, Crisp managed to return to the U.K., serving in British army intelligence during the First World War (1914–1918). Crisp became an American citizen in 1930; during the Second World War (1939–1945), he served in the United States Army Reserve, attaining the rank of colonel.


title: Donald Crisp

text: With the advent of "talkies", Crisp abandoned directing and devoted himself entirely to acting after 1930. He became a much sought after character actor. Throughout the 1930s and 1940s, he appeared in a wide range of roles alongside some of the era's biggest stars, including Katharine Hepburn in "The Little Minister" (1934) and "A Woman Rebels" (1936), Charles Laughton and Clark Gable in "Mutiny on the Bounty" (1935), Bette Davis and Henry Fonda in "That Certain Woman" (1937) and "Jezebel" (1938), Laurence Olivier in "Wuthering Heights" (1939), Errol Flynn in "The Private Lives of Elizabeth and Essex" (1939) and "The Sea Hawk" (1940) and Gregory Peck in "The Valley of Decision" (1945).


title: Donald Crisp

text: A versatile supporting actor, Crisp could be equally good in lovable or sinister roles. During the same period he was playing loving father figures or charming old codgers in classic films like "National Velvet" and "Lassie Come Home", he also turned in a well-received performance as Commander Beach, the tormented presumptive grandfather in Lewis Allen's "The Uninvited" (1944). Undoubtedly, however, Crisp's most memorable role was as the taciturn but loving father in "How Green Was My Valley" (1941) directed by John Ford. The film received ten Oscar nominations, winning five, including Best Picture, with Crisp winning the Oscar for Best Supporting Actor in 1942.


title: Donald Crisp

text: Crisp was an active and important liaison between the film industry and outside business interests. His extensive experience in business, the military and entertainment, including being a production and studio executive, lent itself well to this task. He became a highly valued adviser whose clear-headed forward thinking proved invaluable to the Bank of America, which was one of the leading sources of working capital for the film industry for many years (an industry whose life blood was loans). Crisp served on the bank's advisory board for several decades, including a stint as its chairman. In this role, he had the ear of its board of directors, and many of the films eventually financed by the bank during the 1930s and 1940s got their most important approval from Crisp.


title: Donald Crisp

text: Crisp eventually became one of the more wealthy members of the film industry. His "banker's sobriety", extensive contacts and clarity of thought allowed him to make good investments, particularly in the real estate market. He continued to appear in films throughout the 1950s and into the early 1960s. During more than half a century as an actor, he appeared in as many as 400 two-reel and feature-length productions, perhaps a great deal more. John Carradine, who counted over 500 films to his own credit (the Internet Movie Database records over 300), told his son Keith, who repeated the story during a 2018 Gilbert Gottfried podcast, that only Donald Crisp had appeared in more movies. Crisp's final screen role was as Grandpa Spencer alongside former film co-stars Henry Fonda and Maureen O'Hara in the 1963 film "Spencer's Mountain". This film, adapted from the novel by Earl Hamner, Jr., was the basis for the 1970s television series "The Waltons".


title: Donald Crisp

text: Crisp was in his eighties by the time he quit acting entirely, continuing to work long after it was financially necessary simply because he enjoyed it. He was married three times. In 1912, he married actress Helen Pease, and they remained together until her death the following year. In 1917, he married Marie Stark, whom he divorced in 1920; she went on to act in silent films as Marie Crisp. In 1932, he married film screenwriter Jane Murfin, whom he divorced in 1944. He died in 1974, a few months short of his 92nd birthday, due to complications from a series of strokes. In addition to being one of the premier character actors of his era, he left behind an extensive list of contributions to the film industry he worked to promote for more than fifty years. He is buried at Forest Lawn Memorial Park Cemetery in Glendale, California.


title: Donald Crisp

text: On February 8, 1960, Crisp received a star on the Hollywood Walk of Fame for his contributions to the motion pictures industry at 1628 Vine Street.


title: Type IX submarine

text: The Type IX U-boat was designed by Nazi Germany's "Kriegsmarine" in 1935 and 1936 as a large ocean-going submarine for sustained operations far from the home support facilities. Type IX boats were briefly used for patrols off the eastern United States in an attempt to disrupt the stream of troops and supplies bound for Europe. It was derived from the Type IA, and appeared in various sub-types.


title: Type IX submarine

text: Type IXs had six torpedo tubes; four at the bow and two at the stern. They carried six reloads internally and had five external torpedo containers (three at the stern and two at the bow) which stored ten additional torpedoes. The total of 22 torpedoes allowed U-boat commanders to follow a convoy and strike night after night. Some of the IXC boats were fitted for mine operations; as mine-layers they could carry 44 TMA or 66 TMB mines.


title: Type IX submarine

text: Secondary armament was provided by one deck gun with 180 rounds. Anti-aircraft armament differed throughout the war. They had two periscopes in the tower. Types IXA and IXB had an additional periscope in the control room, which was removed in Type IXC and afterward.


title: Type IX submarine

text: These long range boats were frequently equipped with Focke-Achgelis Fa 330 rotor kite towed rotary-wing aircraft.


title: Type IX submarine

text: Type IXB was an improved model with an increased range. It was the most successful version overall with each boat averaging a total of over sunk.


title: Type IX submarine

text: Notable IXB boats included commanded by Reinhard Hardegen, which opened up the attack in the US waters in early 1942 known as Operation Drumbeat, and operating off Freetown, Sierra Leone under the command of Günter Hessler, which had the most successful single mission of the war ever with close to sunk.


title: Type IX submarine

text: The Type IXC was a further refinement of the class with storage for an additional 43 tonnes of fuel, increasing the boat's range. This series omitted the control room periscope leaving the boats with two tower scopes.


title: Type IX submarine

text: As mine-layers they could carry 44 TMA or 66 TMB mines, though the 35 boats of through and through were not fitted for mine operations.


title: Type IX submarine

text: "U-505" survives at the Museum of Science and Industry in Chicago, and was completely renovated after being moved in 2004 to a purpose-built indoor berth.


title: Type IX submarine

text: DeSchiMAG AG Weser and Seebeckwerft of Bremen, and Deutsche Werft of Hamburg built 54 Type IXC submarines. Only four survived the war, one of which is preserved in the US.


title: Type IX submarine

text: Type IXC/40 was an improved Type IXC with slightly increased range and surfaced speed. The remains of are on display at Woodside Ferry Terminal, Birkenhead.


title: Type IX submarine

text: Type IXD was significantly longer and heavier than the IXC/40. It was faster than the IXC but at the cost of slightly reduced maneuverability. They had three pairs of Daimler Benz diesels: two pairs for cruise and one for high speed or battery recharge. There were three variants: the IXD1, IXD2 and IXD/42. The IXD1 had unreliable engines and they were later converted for use in surface transport vessels.


title: Type IX submarine

text: The IXD2 comprised most of the class and had a range of . The IXD/42, was almost identical but with more engine power ( instead of ).


title: Type IX submarine

text: In 1943 and 1944 the torpedo tubes were removed from a number of IXD boats converted for transport use. In their new role they could transport 252 tonnes of cargo. The range was extended to .


title: Type IX submarine

text: Several Type IXD/42 U-boats were contracted to be built by DeSchiMAG AG Weser of Bremen, but only two were commissioned. They were:


title: Montreal-style smoked meat

text: Montreal-style smoked meat, Montreal smoked meat or simply smoked meat in Quebec (French: "smoked-meat"; sometimes "viande fumée" or even "bœuf mariné": Literally “marinated beef”) is a type of kosher-style deli meat product made by salting and curing beef brisket with spices. The brisket is allowed to absorb the flavours over a week, is then hot smoked to cook through, and finally is steamed to completion. This is a variation on corned beef and is similar to pastrami.


title: Montreal-style smoked meat

text: Although the preparation method may be similar to New York pastrami, Montreal smoked meat is cured in seasoning with more cracked peppercorns and savoury flavourings, such as coriander, garlic, and mustard seeds, and significantly less sugar. The recipe for Montreal steak seasoning is based on the seasoning mixture for Montreal smoked meat.


title: Montreal-style smoked meat

text: Montreal smoked meat is made with variable-fat brisket, whereas pastrami is more commonly made with the fat-marbled navel/plate cut. Montreal smoked meat is typically served in the form of a light-rye bread sandwich accompanied with yellow mustard. While some Montreal smoked meat is brine-cured like corned beef, with spices applied later, many smoked meat establishments prefer dry-curing directly with salt and spices.


title: Montreal-style smoked meat

text: The origins of Montreal smoked meat are uncertain and likely unresolvable. Many have laid claims to the creation or introduction of smoked meat into Montreal. Regardless, all of these stories indicate the creators are of the Jewish Diaspora from Romania or Eastern Europe:


title: Montreal-style smoked meat

text: Warm Montreal smoked meat is always sliced by hand to maintain its form, since doing so with a meat slicer would cause the tender meat to disintegrate. Whole briskets are kept steaming and sliced up on demand when ordered in the restaurant to maintain its temperature.


title: Montreal-style smoked meat

text: Even when hand-cut, Montreal smoked meat produces a considerable amount of broken bits when sliced. These pieces are gathered together and commonly served with French fries, cheese curds, and gravy as smoked meat poutine or served over spaghetti with Bolognese sauce or even pizza.


title: Montreal-style smoked meat

text: Montreal-style smoked meat sandwiches are typically built with seedless, light rye bread, and piled with hand-sliced smoked meat about high with yellow prepared mustard. The customer can specify the amount of fat in the smoked meat:


title: Montreal-style smoked meat

text: Montreal smoked meat is offered in many diners and fast food restaurant chains in Montreal, the rest of Quebec, and the rest of Canada. Along with bagels, smoked meat has been popular in Montreal since the 19th century and is identified as emblematic of the city's cuisine. Despite the food's origins in, and association with, Montreal's Jewish community and, contrary to what is sometimes asserted, delis are seldom certified as kosher.


title: Montreal-style smoked meat

text: Montreal writer Mordecai Richler sardonically described the flavour of smoked meat from Schwartz's, a Montreal deli, in his novel "Barney's Version", as a "maddening aphrodisiac" to be bottled and copyrighted as "Nectar of Judea".


title: Rosie Cavaliero

text: Rosalind Cecilia Cavaliero (born 27 November 1967) is a Brazilian-born English actress. She has appeared in numerous television roles.


title: Rosie Cavaliero

text: The Radio 4 trilogy "Lost Property" won the '2011 BBC Audio Drama Award' for Best Drama, and Rosie Cavaliero won the Best Actress award for her role as 'Ruthie' in episode 3 "Lost Property – A Telegram from the Queen".


title: Candid photography

text: A candid photograph is a photograph captured without creating a posed appearance. The candid nature of a photograph is unrelated to the subject's knowledge about or consent to the fact that photographs are being taken, and are unrelated to the subject's permission for further usage and distribution. The crucial factor is the actual absence of posing. However, if the subject is absolutely unaware of being photographed and does not even expect it, then such photography is secret photography, which is a special case of candid photography.


title: Candid photography

text: The person who is generally credited with being the first available light "candid" photographer is Dr. Erich Salomon who photographed the social elite in Berlin, Germany and politicians and diplomats during the late 1920s and early 1930s with a 1 3/4 x 2 1/4 glass plate or cut, sheet, film camera called the Ermanox, fitted with an f/1.8 Ernostar lens. The Ermanox was introduced by the Ernemann-Werke (Works) of Dresden, Germany, in 1924.


title: Candid photography

text: It was said by the French Minister of the Colonies Aristide Briand, that "There are just three things necessary for a League of Nations conference: a few Foreign Secretaries, a table and Salomon". On seeing Salomon's photographs, so utterly different in revelation from the traditional, posed, studio portraits or the formal, flash-powder illuminated, group photographs, an English editor called them "candid photographs" an art of observation , a phrase which got stuck with the public.


title: Candid photography

text: The camera most suited to Salomon's approach, and which came to be dubbed as the "candid camera", was the Leica, the camera designed by Oscar Barnack and introduced by the Ernst Leitz company in 1924 and which was the forerunner of all 35 mm cameras of today.


title: Candid photography

text: Some professional photographers developed candid photography into an art form. Henri Cartier-Bresson might be considered the master of the art of candid photography, capturing the "decisive moment" in everyday life over a span of several decades. Arthur Fellig, better known as Weegee, was one of the great photographers to document life in the streets of New York to often capture life — and death — at their rawest edges.


title: Candid photography

text: Almost all the successful photographers in the field of candid photography master the art of making people relax and feel at ease around the camera, they master the art of blending in at parties, of finding acceptance despite an obvious intrusive element - the camera. How subjects react to photographer's presence with the camera depends on how knowledgeable the artist is on the craft, the approach and the execution of the shot. This is certainly true for most celebrity photographers, such as René Burri, or Raeburn Flerlage.


title: Candid photography

text: It could be argued that candid photography is the purest form of photojournalism. There is a fine line between photojournalism and candid photography, a line that was blurred by photographers such as Bresson and Weegee. Photojournalism often sets out to tell a story in images, whereas candid photography simply captures people living an event.


title: Candid photography

text: Unobtrusive camera equipment, often small in size, is preferred for candid photography to avoid disturbing subjects. Black-painted cameras have long been preferred.


title: Candid photography

text: Candid photography also typically requires use of available light since flash alerts subjects to the camera and may startle them, causing them to react or become self-conscious and stage their photo appearance rather than behaving naturally. For this reason, early candid photography took place outdoors, where the sun provides ample light. Indoor candid photography required the development of more sensitive films with higher film speeds (ISO) and aggressive methods of developing films ("push processing") to increase sensitivity. Therefore, candid photography was historically associated with the grainy, high contrast images that result from these techniques. The introduction of digital cameras has made it easier to take pictures in low light conditions without flash. Full-frame DSLR cameras have brought high-ISO noise to historically low levels, allowing for clean, saturated images at speeds up to and beyond ISO 6400.


title: Candid photography

text: Although point and shoot cameras with affordable lenses have been used widely for candid photography, the resulting photographs can suffer from vignetting, distortion and over saturation of color. Due to short reaction times for the photographer, exposure or focus may be slightly off. Since flash cannot be used, pictures are often taken at low shutter speeds and show blurring from movement of the subject, or camera shaking. All these faults are usually considered acceptable because of the limitations of candid photography.


title: Candid photography

text: Candid film photographers have been forced to use black and white, rather than color film because of its greater film speed. This has given candid photos a characteristic appearance. Film provides roughly 3 stops more dynamic range compared to earlier digital cameras. However, improved, smaller digital cameras are providing photographers with increased dynamic range, greater lens speeds and sharpness, enabling them to capture high quality candid images.


title: Proxy auto-config

text: A proxy auto-config (PAC) file defines how web browsers and other user agents can automatically choose the appropriate proxy server (access method) for fetching a given URL.


title: Proxy auto-config

text: A PAC file contains a JavaScript function codice_1. This function returns a string with one or more access method specifications. These specifications cause the user agent to use a particular proxy server or to connect directly.


title: Proxy auto-config

text: Multiple specifications provide a fall-back when a proxy fails to respond. The browser fetches this PAC file before requesting other URLs. The URL of the PAC file is either configured manually or determined automatically by the Web Proxy Auto-Discovery Protocol.


title: Proxy auto-config

text: Modern web browsers implement several levels of automation; users can choose the level that is appropriate to their needs. The following methods are commonly implemented:


title: Proxy auto-config

text: The Proxy auto-config file format was originally designed by Netscape in 1996 for the Netscape Navigator 2.0 and is a text file that defines at least one JavaScript function.


title: Proxy auto-config

text: By convention, the PAC file is normally named codice_3. The WPAD standard uses codice_4. The file is expected to contain at least one function:


title: Proxy auto-config

text: To use it, a PAC file is published to a HTTP server, and client user agents are instructed to use it, either by entering the URL in the proxy connection settings of the browser or through the use of the WPAD protocol. The URL may also reference a local file as for example: codice_8.


title: Proxy auto-config

text: Even though most clients will process the script regardless of the MIME type returned in the HTTP reply, for the sake of completeness and to maximize compatibility, the HTTP server should be configured to declare the MIME type of this file to be either codice_9 or codice_10.


title: Proxy auto-config

text: There is little evidence to favor the use of one MIME type over the other. It would be, however, reasonable to assume that codice_9 will be supported in more clients than codice_10 as it was defined in the original Netscape specification, the latter type coming into use more recently.


title: Proxy auto-config

text: This function instructs the browser to retrieve all pages through the proxy on port 8080 of the server codice_13. Should this proxy fail to respond, the browser contacts the Web-site directly, without using a proxy. The latter may fail if firewalls, or other intermediary network devices, reject requests from sources other than the proxy—a common configuration in corporate networks.


title: Proxy auto-config

text: A more complicated example demonstrates some available JavaScript functions to be used in the codice_14 function:


title: Proxy auto-config

text: By default, the PROXY keyword means that a proxy corresponding to the protocol of the original request, be it http, https, or ftp, is used. Other supported keyword and proxy types include:


title: Proxy auto-config

text: The encoding of PAC scripts is generally unspecified, and different browsers and network stacks have different rules for how PAC scripts may be encoded. In general, wholly ASCII PAC scripts will work with any browser or network stack. Mozilla Firefox 66 and later additionally supports PAC scripts encoded as UTF-8.


title: Proxy auto-config

text: The function codice_16 (and similar other functions) performs a DNS lookup that can block the browser for a long time if the DNS server does not respond.


title: Proxy auto-config

text: The codice_17 function has often been reported to give incorrect or unusable results, e.g. codice_19, the IP address of the localhost.


title: Proxy auto-config

text: It may help to remove on the system's host file (e.g. codice_20 on Linux) any lines referring to the machine host-name, while the line codice_21 can, and should, stay.


title: Proxy auto-config

text: In 2013, researchers began warning about the security risks of proxy auto-config. The threat involves using a PAC, discovered automatically by the system, to redirect the victim's browser traffic to an attacker-controlled server instead.


title: Proxy auto-config

text: Another issues about pac file is the typical implementation involve clear text http retrieval, which does not include any security features such as code signing or web certificates. Attacker can perform man-in-middle spoofing attack easily.


title: Proxy auto-config

text: Caching of proxy auto-configuration results by domain name in Microsoft's Internet Explorer 5.5 or newer limits the flexibility of the PAC standard. In effect, you can choose the proxy based on the domain name, but not on the path of the URL. Alternatively, you need to disable caching of proxy auto-configuration results by editing the registry, a process described by de Boyne Pollard (listed in further reading).


title: Proxy auto-config

text: It is recommended to always use IP addresses instead of host domain names in the codice_22 function for compatibility with other Windows components which make use of the Internet Explorer PAC configuration, such as .NET 2.0 Framework. For example,


title: Proxy auto-config

text: if (isInNet(host, dnsResolve(sampledomain), '255.255.248.0')) {} // .NET 2.0 will resolve proxy properly


title: Proxy auto-config

text: Shortly after switching between network configurations (e.g. when entering or leaving a VPN), codice_16 may give outdated results due to DNS caching.


title: Proxy auto-config

text: For instance, Firefox usually keeps 20 domain entries cached for 60 seconds. This may be configured via the codice_24 and codice_25 configuration variables. Flushing the system's DNS cache may also help, which can be achieved e.g. in Linux with sudo service dns-clean start or in Windows with ipconfig /flushdns.


title: Proxy auto-config

text: The codice_17 function assumes that the device has a single IPv4 address. The results are undefined if the device has more than one IPv4 address or has IPv6 addresses.


title: Proxy auto-config

text: More advanced PAC files can reduce load on proxies, perform load balancing, fail over, or even black/white listing before the request is sent through the network.


title: Whit Stillman

text: John Whitney Stillman (born January 25, 1952) is an American writer-director and actor known for his 1990 film "Metropolitan", which earned him a nomination for the Academy Award for Best Original Screenplay. He is also known for his other films, "Barcelona" (1994), "The Last Days of Disco" (1998), "Damsels in Distress" (2011), as well as his most recent film, "Love & Friendship", released in 2016.


title: Whit Stillman

text: Stillman was born in 1952 in Washington, D.C., to Margaret Drinker (née Riley), from Philadelphia, Pennsylvania, and a Democratic politician, John Sterling Stillman, an assistant secretary of commerce under President John F. Kennedy (a classmate of Stillman's father at Harvard), from Washington, D.C. His great-grandfather was businessman James Stillman; his great-great-grandfather, Charles Stillman, founded Brownsville, Texas. Stillman grew up in Cornwall, New York, and experienced depression during puberty. "I was very depressed when I was 11 or 12," he told "The Wall Street Journal". "I was sent to the leading Freudian child psychologist in Washington, D.C. It was heck. The last thing I needed to talk about was guilt about sex." However, when his parents separated, he found that his depression ceased: "I actually felt healthier."


title: Whit Stillman

text: Stillman's godfather was E. Digby Baltzell, a University of Pennsylvania professor and chronicler of the American upper class.


title: Whit Stillman

text: He attended the Collegiate School, Potomac School, and Millbrook School, and then studied history at Harvard University, where he wrote for "The Harvard Crimson".


title: Whit Stillman

text: After graduating from Harvard in 1973, Stillman began working as an editorial assistant at Doubleday in New York City, followed by a stint as a junior editor at "The American Spectator", a conservative magazine. Stillman has subsequently distanced himself from his work for the "Spectator," describing himself in 2012 as "apolitical".


title: Whit Stillman

text: He was introduced to some film producers from Madrid and persuaded them that he could sell their films to Spanish-language television in the U.S. He worked for the next few years in Madrid and Barcelona as a sales agent for directors Fernando Trueba and Fernando Colomo, and sometimes acted in their films, usually playing comic Americans, as in Trueba's film "Sal Gorda".


title: Whit Stillman

text: Stillman wrote the screenplay for "Metropolitan" between 1984 and 1988 while running an illustration agency in New York, and financed the film by selling the insider rights to his apartment (for $50,000) and with the contributions of friends and relatives. Loosely based on Stillman's Manhattan days, with his divorced mother during the week of Christmas break 1969 during his first year at Harvard, "Metropolitan" tells the story of the alienated Princetonian Tom Townsend's introduction to the "Sally Fowler Rat Pack" (SFRP), a small group of preppy, Upper East Side Manhattanites making the rounds at debutante balls during Christmas break of their first year in college. Though he is a socialist deeply skeptical of the SFRP's upper-class values, Tom (Edward Clements) grows increasingly attached to the cynical Nick (Chris Eigeman) and plays an important part, of which he is largely unaware, in the life of Audrey (Carolyn Farina), a young debutante. Many of the exclusive interior locations were lent to Stillman by family friends and relatives.


title: Whit Stillman

text: The film premiered and was screened as part of the Directors' Fortnight section at the 1990 Cannes Film Festival. "Metropolitan" was also nominated for the Grand Jury Prize (Drama) at the 1990 Sundance Film Festival. Stillman won Best First Feature at the 6th Independent Spirit Awards and was nominated for an Academy Award in 1991 for Best Original Screenplay. He won the 1990 New York Film Critics Circle Award for Best New Director. The movie was a financial success, grossing about $3 million on a budget of $225,000. In an interview Stillman said of the film, "The material seemed pretty rich, almost rank. And perhaps it's better approaching a subject people feel strongly about, even if that strong feeling is hatred, than something colorless and unspecific. Also, I love anachronism and this was the chance to film, essentially, a costume picture set in the present day or recent past. But a large part of the idea was to disguise our pitifully low budget by filming the most elegant subject available."


title: Whit Stillman

text: "Barcelona", his first studio-financed film, was inspired by his own experiences in Spain during the early 1980s. Stillman has described the film as "An Officer and a Gentleman", but with the title referring to two men rather than one. The men, Ted and Fred, experience the awkwardness of being in love in a foreign country culturally and politically opposed to their own.


title: Whit Stillman

text: "The Last Days of Disco" was based loosely on Stillman's experiences in various Manhattan nightclubs, including Studio 54. The film concerns Ivy League and Hampshire graduates falling in and out of love in the disco scene of Manhattan in the "very early 1980s". Chloë Sevigny and Kate Beckinsale play roommates with opposite personalities who frequent disco clubs together. "The Last Days of Disco" concludes a trilogy loosely based on Stillman's life and contains many references to the previous two films: a character considers a move to Spain to work for American ad agencies there after meeting with the "Barcelona" character of Ted Boynton, and "Metropolitan"'s heroine Audrey Rouget reappears briefly as a successful publisher, as do a few other characters from that film, as clubgoers. In 2000 Stillman published a novelization of the film, titled "The Last Days of Disco, with Cocktails at Petrossian Afterwards". The novelization won the French 2014 Prix Fitzgerald Award.


title: Whit Stillman

text: Stillman stated in 2006 that he was working on several unfinished scripts. He had been slated to direct a film adaptation of Christopher Buckley's novel "Little Green Men", but in a 2009 interview, Stillman said the adaptation is "[not] happening, at least with me." He was writing another film, "Dancing Mood", set in Jamaica in the 1960s, which was not produced.


title: Whit Stillman

text: After a 13-year hiatus, Stillman released his fourth film, "Damsels in Distress", starring Greta Gerwig, Adam Brody, Hugo Becker and Lio Tipton (credited as Analeigh Tipton). It premiered September 10 at the 2011 Venice Film Festival as the closing film and received favorable reviews. The film is "about three young women at an East Coast university, the transfer student that joins their group and the young men they become entangled with."


title: Whit Stillman

text: In 2014 Stillman wrote and directed the pilot episode of the TV series "The Cosmopolitans" for Amazon Studios on August 28, 2014 the pilot was available and Amazon Prime users could watch the pilot episode and vote to pick it up for a full series. On July 11, 2016, Tom Grater reported that Stillman was commissioned by Amazon to write six new scripts to continue his original pilot film for "The Cosmopolitans".


title: Whit Stillman

text: "I explained to Amazon that I don’t like outlining or projecting what something’s going to be. I like to allow a story to arise as I’m writing scripts. I find it horrible when I try to think of something for the plot without really being on the ground and seeing where it goes. I was really resistant to do the mini-bible. So I gave them something, but I really didn’t want to do it that way. They also knew about the film, so they commissioned six scripts for the first season that they were going to let me postpone until I finished this film, which is now. So in ten days, we’ll be full on with that. It’s been really good because I think I was waiting for the idea I really want, and I think I have that now. It’s not exactly Paris, it’s a European idea. So it will be Chloe and Adam Brody. We’ll keep the pilot, that’s part of the story, but we’ll be going a different place with it."<br>- Whit Stillman, shortly before the world premiere of " Love & Friendship" at Sundance


title: Whit Stillman

text: Amazon states (2016-09-25) that, regarding "The Cosmopolitans" 2014, "Our agreements with the content provider don’t allow purchases of this title at this time."


title: Whit Stillman

text: "The bulk of the pilot of “The Cosmopolitans” involves several of Stillman’s signature subjects. The first is a party: the male trio, plus Aubrey, head to a soirée at the posh apartment of an arrogantly wealthy Parisian acquaintance (or perhaps a German in Paris), Fritz (Freddy Åsblom). For Stillman, parties are laboratories where possibilities arise suddenly from the close and quickly ricocheting contacts of social atoms—and where social rules, hidden beneath the murky surface of daily life, emerge more clearly, in ritualized isolation. The second is something that happens at the party: a dance, but a formally patterned one where the rules are the very subject."<br>- Richard Brody, 27 August 2014


title: Whit Stillman

text: A film version of one of Jane Austen's early short novels "Lady Susan" was reported by "Entertainment Weekly" on January 22, 2016. This followed the indication that Little, Brown and Company would be publishing the screenplay adapted by Stillman The film premiered in January 2016 at the Sundance Film Festival under the title of "Love & Friendship". Although the plot of the film is adapted from "Lady Susan", the actual title used ("Love & Friendship)" is from another, unrelated early epistolary novel by Austen, unpublished during her lifetime. It received universal acclaim from critics.


title: Whit Stillman

text: The promotional announcement by Little, Brown and Company summarized Stillman's adaptation stating; "Recently widowed, Lady Susan arrives, unannounced, at her brother-in-law's estate to wait out colorful rumors about her dalliances circulating through polite society. While there, she becomes determined to secure a new husband for herself, and one for her reluctant debutante daughter, Frederica, too. As Lady Susan embarks on a controversial relationship with a married man, seduction, deception, broken hearts, and gossip all ensue. With a pitch-perfect Austenian sensibility, Stillman breathes new life into Austen's work, making it his own by adding original narration from a character comically loyal to the story's fiendishly manipulative heroine, Lady Susan."


title: Whit Stillman

text: Stillman wrote and directed three comedies of manners released in the 1990s: "Metropolitan" (1990), "Barcelona" (1994), and "The Last Days of Disco" (1998); he published a novel based on the last of these films. After completing his film trilogy, Stillman left independent comedy and started researching and writing a series of scripts set abroad. In August 1998 (shortly after "The Last Days of Disco" was released) he left his loft conversion in Manhattan's SoHo and moved to Paris. He returned to New York in 2010.


title: Whit Stillman

text: A fourth film, "Damsels in Distress", was released in 2011, premiering out of competition as the closing film at the 68th Venice International Film Festival. "The Guardian" in 2012 compared Stillman to Terrence Malick, another filmmaker who has "come to owe a good part of their mystique to the very paucity of their oeuvre...The lengthy gaps in between (films) have created expectations that are hard to fulfil, and admirers have been inclined to overestimate their achievement." A reviewer at "Salon" wrote that the reason for the long gaps between his films is that "Stillman is sometimes simply too damn smart for his own good. You can't always tell at whom he's poking fun, or why, and it becomes unfortunately easy to typecast him as the WASP answer to Woody Allen and conclude that his movies are insufferably irritating documents of privilege. He himself is aware of that possibility the whole time, and bastes his entire worldview in a rueful, ironic-romantic glaze."


title: Whit Stillman

text: Stillman's effectiveness at the box-office has been mixed. He filmed "Metropolitan" for about $250,000, according to Stillman, with a box-office return of about $3 million. "Barcelona" was then filmed on a budget of under $3 million, returning just under $8 million. His third film was not a box-office success; its budget of $8 million returned about $3 million. Stillman, in an AOL interview following the twenty-fifth anniversary of "Metropolitan", refers to himself as having been put into "director's prison" for more than 10 years before he made "Damsels". His 2016 film "Love & Friendship", a comedy based on a Jane Austen story, was a box-office success, grossing more than $20 million worldwide against a production budget of $3 million.


title: Whit Stillman

text: In 2012, Stillman participated in the "Sight & Sound" film polls of that year. Held every ten years to select the greatest films of all time, contemporary directors were asked to select ten films of their choice.


title: Whit Stillman

text: The Wexner Center for the Arts at the Ohio State University held a 25-year retrospective of the career and films of Stillman including his film titled "Love & Friendship". At the time of the retrospective, Stillman was asked: "Your films all have a sort of costume drama sensibility, but without the costumes, and now you've made a costume drama, period dress and all." Stillman responded by stating that: ""Love & Friendship" doesn't loom as a costume drama, because it's a pretty funny comedy, so it's really not what you might anticipate. It's not "Downton Abbey" in any way, shape or form. There are a lot of very good English comic actors who have done the supporting parts and really shine. I love Jane Austen. I sort of wanted something of my own to work on between paid script writing assignments. It's good that I had so much time with no producer or studio executive wanting delivery quickly because it's an incredibly funny novella she wrote, but hard to read and hard to dramatize. It's an epistolary form from the 18th century and there are all these very funny ideas and lines buried within. It's kind of an inaccessible format and it was a long process of adaptation."


title: Whit Stillman

text: In April 2016, The Criterion Collection released a retrospective box set edition of "Metropolitan", "Barcelona", and "The Last Days of Disco", available on Blu-ray and DVD. Stillman himself oversaw the digital transfers of the films and recorded audio commentaries along with members of the casts and crews.


title: Whit Stillman

text: Stillman wrote a novelization of "The Last Days of Disco" published by Farrar, Straus and Giroux under the same title, with the added subtitle ""...With Cocktails at Petrossian Afterwards"". It won the French 2014 Prix Fitzgerald Award. Stillman also wrote the novelization of his 2016 film "Love & Friendship".


title: Graeme Revell

text: Graeme Revell (born 23 October 1955) is a New Zealand musician and composer. He came to prominence in the 1980s as the leader of the industrial/electronic group SPK. Since the 1990s he has worked primarily as a film score composer.


title: Graeme Revell

text: Some of Revell's best known film scores include "The Crow" (1994), "Street Fighter" (1994), "" (1995), "From Dusk Till Dawn" (1996), "The Craft" (1996), "The Saint" (1997), "The Negotiator" (1998), "Bride of Chucky" (1998), "Titan A.E." (2000), "" (2001), "Daredevil" (2003), "Freddy vs. Jason" (2003), and "Sin City" (2005). He is also known for his frequent collaborations with director David Twohy, having scored "Below" (2002) and the "Riddick" franchise. He is an eight-time recipient of the BMI Film Music Award, including the Richard Kirk Career Achievement Award, and an AACTA Award winner.


title: Graeme Revell

text: Revell attended Auckland Grammar School, where he finished his final year in 7A. As an orderly in an insane asylum in Australia in the late 70's, he and one of the patients formed one of industrial music's first bands, SPK, as an outgrowth of Mr. Revell's interest in music therapy. He spent the next decade making music that ranged from extreme to beautiful to academic and earning a reputation for wild stage stunts that included accidentally setting an audience member on fire with a flamethrower. Mr. Revell's break came in 1989, when he scored the Australian film "Dead Calm." A Hollywood agent, Richard Kraft, heard it and tracked Mr. Revell down. Since then, Mr. Revell has been busy in Hollywood, working with everything from 85-piece orchestras for "Mighty Morphin Power Rangers", to Tuvan singers and Armenian stringed instruments for "The Crow", to brassy jazz and hip-hop rhythm loops in his current project, "Fled", with Laurence Fishburne and Stephen Baldwin.


title: Graeme Revell

text: Revell is a classically trained pianist and French horn player, but also graduated from the University of Auckland with degrees in economics and political science.


title: Graeme Revell

text: He worked as a regional planner in both Australia and Indonesia, and was also an orderly in an Australian psychiatric hospital.


title: Graeme Revell

text: Revell was a founding member of the industrial music band SPK, playing keyboards and percussion. The SPK single, "In Flagrante Delicto", was the basis for the "Dead Calm" film score (his first) that won him an Australian Film Industry award in 1989.


title: Graeme Revell

text: Most of Revell's subsequent projects were film scores. But in 1997, he teamed up with Roger Mason to create a non-film music album "Vision II – Spirit of Rumi", released through New York based Angel Records. The two coproduced, supplied some of the instrumental accompaniment, and set to music 11 poems by renowned 13th century poet Jalāl ad-Dīn Muhammad Rūmī. Vocals were provided by Noa, Lori Garson, Esther Dobong'Na Essiene a.k.a. Estha Divine, and the late Nusrat Fateh Ali Khan.


title: Graeme Revell

text: In 2002–03, he assisted the rock band Evanescence on their debut album, "Fallen", in which he is credited for doing most of the string arrangements. He has also done string arrangements for Ludus, Stefy, Biffy Clyro and The Wombats.


title: Graeme Revell

text: Revell's musical style is predominantly electronic and computer-based, yet often utilizes classical instruments or entire arrangements for certain pieces (similar to his contemporary counterparts, Hans Zimmer and Mark Isham). The orchestral scores that Revell has composed have changed throughout his career—from Bernard Herrmann-like pieces to Ennio Morricone-influenced works. "Whenever I write songs, I always have visual images in mind, and I have always changed styles dramatically. That's not good for a long-term rock career, but it's good if you want to score films." "I'm trying to bring a dose of class to Hollywood," he said. "I want my music to be the real thing instead of some terrible synthesized thing thrown together in a week. I don't want to sound just like everybody else."


title: Graeme Revell

text: Revell's music is often re-used from movie to movie and in more recent times he has collaborated with other artists on their albums. After the success of his soundtrack on "Red Planet" where he used the voice of French singer Emma Shapplin to back up and often lead his score, he collaborated with her on her own album "Etterna", producing all of her songs. He has recently been interviewed for the independent documentary "Finding Kraftland".


title: Graeme Revell

text: Revell has been assisted in sound design by Brian Williams, who creates dark ambient music under the German language black humorous pseudonym "Lustmord".


title: Graeme Revell

text: On 18 May 2005, Revell was honored at the annual BMI Film & TV Awards with the Richard Kirk Award for Outstanding Career Achievement.


title: Harold Varner III

text: Harold Varner III (born August 15, 1990) is an American professional golfer who has played on the PGA Tour. He won the Australian PGA Championship in December 2016 and the PIF Saudi International in February 2022.


title: Harold Varner III

text: Varner was born in Akron, Ohio, but raised in Gastonia, North Carolina where he played golf at Forestview High School. He played his collegiate golf at East Carolina University and was the first player in school history to be named Conference USA player of the year. He also competed in the 2010 U.S. Amateur at Chambers Bay in University Place, Washington.


title: Harold Varner III

text: Varner turned professional in 2012, missing the cut at the Chiquita Classic. Prior to playing on the Web.com Tour, he played on the eGolf Tour and Florida Tour. He qualified for the 2013 U.S. Open, but missed the cut.


title: Harold Varner III

text: Varner started playing on the Web.com Tour in 2014, making 13 cuts in 21 tournaments with two top-10 finishes. His best finish was T-2 at the Rex Hospital Open. He finished 30th on the money list in his first full season. He also played in two PGA Tour events, the Northern Trust Open (T70) and Wells Fargo Championship (missed cut).


title: Harold Varner III

text: In 2015, he had five top-25 finishes and a runner-up finish at the Panama Claro Championship. He finished 25th on the Web.com Tour regular season money list, the last guaranteed spot, to earn a PGA Tour card for the 2015–16 season. Varner is the first African American golfer to advance to the PGA Tour via the Web.com Tour.


title: Harold Varner III

text: In December 2016, Varner earned his first professional golf victory by winning the Australian PGA Championship, a tournament co-sanctioned by the PGA Tour of Australasia and the European Tour. He is only the second American to win the Australian PGA Championship and the first since Hale Irwin won it in 1978. He also became the third black man to win on the European Tour after Vincent Tshabalala of South Africa and Tiger Woods.


title: Harold Varner III

text: In May 2019, Varner was tied for second heading into the final round of the PGA Championship on Bethpage Black outside of New York City. He played in the final group with eventual champion Brooks Koepka but shot 81 to finish tied for 36th.


title: Harold Varner III

text: In April 2021, Varner recorded his best finish to date on the PGA Tour. A tied-second place at the RBC Heritage; four shots behind Stewart Cink.


title: Harold Varner III

text: In February 2022, Varner won the PIF Saudi International on the Asian Tour. He eagled the final hole with a 92 foot putt to beat Bubba Watson by one shot.


title: Harold Varner III

text: In April 2022, Varner held his first solo 54-hole PGA Tour lead at the RBC Heritage. He finished tied for third, one shot behind winner Jordan Spieth. He moved to a career high 36th in the world rankings. In May 2022 at the Charles Schwab Challenge, Varner was tied for the lead after the 11th hole in the final round. He finished the round 9 shots back of the eventual winner after closing at +10 over the final seven holes. In August 2022, it was announced that Varner had joined LIV Golf.


title: Federalism in the Philippines

text: Federalism in the Philippines () refers to political movements in the Philippines that are variants of federalism. Federalism has grown in popularity among Filipinos in recent decades, with multiple political candidates successfully campaigning on federalism-based platforms. In 2022, Bongbong Marcos won the Philippine presidential election under the banner of Partido Federal ng Pilipinas (English: Federal Party of the Philippines; abbr. PFP).


title: Federalism in the Philippines

text: The concept of a federal government for the Philippines was first suggested by José Rizal. He outlined his vision of federalist governance on his essay "Filipinas dentro de cien años" ("The Philippines a Century Hence") that was published by the Barcelona-based propaganda paper La Solidaridad in 1889.


title: Federalism in the Philippines

text: In 1899, Filipino revolutionaries Emilio Aguinaldo and Apolinario Mabini also suggested dividing the islands into three federal states.


title: Federalism in the Philippines

text: One of the first proponents of federalism in the Philippines in the 21st century is professor Jose Abueva from the University of the Philippines who argued that a federal form of government is necessary to more efficiently cater to the needs of the country despite its diversity. The primary goals of a constitutional amendment is to increase decentralization, greater local power and access to resources most especially among regions outside Metro Manila which has long been dubbed as rather imperial.


title: Federalism in the Philippines

text: Aside from Abueva, senator Aquilino Pimentel Jr. was a prominent supporter of federalism who, beginning in 2001, advocated for federalism. He saw the proposed system as a key component in alleviating the Mindanao crisis and appeasing Moro insurgents. According to Pimentel, even though federalism was never intended to appease any followers of any specific ideology of religion, it will also hasten economic development, since resource and financial mobilization is upon each state's or province's discretion without significant constraint from the central government.


title: Federalism in the Philippines

text: However, in 2009, after Senate and House resolutions supporting charter change were released, an estimated 13,000 to 15,000 people gathered in Makati to protest against these executive department-deriving proposals for constitutional reform. This was due to speculations that Philippine president Gloria Macapagal Arroyo would use such amendments to extend her hold in office. In addition, Pulse Asia published in the same year their survey regarding public support for the proposed charter change; the survey reported that four out of ten Filipino adults, or 42% of all respondents, opposed the amendment, with 25% still undecided and 33% in favor. Pulse Asia furthered that from 2006 to 2009 there was no significant change of sentiment against the charter change proposal, although indecision increased by 6%.


title: Federalism in the Philippines

text: In late 2014, then-Davao City mayor Rodrigo Duterte launched a nationwide campaign calling for a charter change for federalism. During his visit to Cebu City in October of the same year, Duterte stated that federalism will facilitate better delivery of services to the people. He also saw the current system as "antiquated" where distribution of public funds is disproportionately biased towards Metro Manila. Aside from the economic aspect, federalism is also seen as the best means to address problems in Mindanao which suffers the most from ethno-religious conflicts. Duterte added that the current unitary form of government has not worked well given the ethnic diversity in the country. In spite of initially rejecting several calls for his candidacy for the 2016 presidential elections, he cited his organizational reforms if he were to become president. Parallel to his campaign for federalism, Duterte planned to privatize tax collection and abolish the Congress to make way for a unicameral legislature, contrary to the originally proposed Joint Resolution No. 10.


title: Federalism in the Philippines

text: Movements for federalism further intensified from when the draft of the Bangsamoro Basic Law was submitted by Philippine president Benigno Aquino III to the 16th Congress on September 10, 2014. From approval, this law establishes the Bangsamoro as an autonomous region with its own parliamentary government and police force. Approval of the Bangsamoro structure would provide federalism proponents and supporters added confidence to clamor for the national government to enact reforms towards a more decentralized system for the rest of the country.


title: Federalism in the Philippines

text: In May 2016, President-elect Rodrigo Duterte stated that a plebiscite on the proposed replacement of the unitary state with a federal one will be held in two years. On December 7, 2016, Duterte signed Executive Order No. 10 creating a consultative committee to review the 1987 Constitution.


title: Federalism in the Philippines

text: The resolution may require the revision of 14 of the 18 Articles of the 1987 Philippine Constitution and the addition of two new articles. It sought to adopt a federal and presidential form of government with a bicameral legislature. This proposed resolution was backed by 12 senators of the Philippines: Aquilino Pimentel Jr., Edgardo Angara, Rodolfo Biazon, Pia Cayetano, Juan Ponce Enrile, Francis Escudero, Jinggoy Estrada, Gregorio Honasan, Panfilo Lacson, Francis Pangilinan, Ramon Revilla Jr. and Manuel Villar. Arroyo for a shift to this system in her later state of the nation address.


title: Federalism in the Philippines

text: In 2008, senator Aquilino Pimentel Jr. proposed "Joint Resolution No. 10", which would revise the current 1987 constitution and have created eleven autonomous regions out of the Philippine Republic, establishing eleven centers of finance and development in the archipelago.


title: Federalism in the Philippines

text: Within the joint resolution are certain proposals such as election of senators based on states, senators representing overseas voters and the state governor and vice-governor as one team. The Judicial and Bar Council which screens nominees to the judiciary would be abolished. Geographic locations of the three branches of the government would also be reconsidered. In the proposal, the legislative department would be transferred to what would become the State of Central Visayas while the judicial department would be moved somewhere within the State of Northern Luzon. The executive department would remain within the federal administrative region of Metro Manila.


title: Federalism in the Philippines

text: Rep. Monico Puentevella on May 7, 2008, filed House Concurrent Resolution No. 15 which supported Senate Resolution No. 10 backed by 16 senators. Unlike the Nene Pimentel Senate Resolution, Puentevella included the option of holding a constitutional convention, but excluded the People's Initiative mode. Prospero Nograles, a self-proclaimed advocate of federalism, on May 1, 2008, announced: "This federal system of government is close to my heart as a Mindanaoan leader and I'm sure most of the leaders in Mindanao will agree that we have long clamored for it. Senate Resolution 10 is a pleasant surprise because the Senate has a long history of opposing any move to amend the Constitution." The joint Senate resolution called for the creation of 11 federal states in the country, by convening of Congress "into a constituent assembly for the purpose of revising the Constitution to establish a federal system of government."


title: Federalism in the Philippines

text: President Rodrigo Duterte has pushed for the adoption of a federal system of government for the Philippines, which was one of his campaign promises when he ran for president in 2016.


title: Federalism in the Philippines

text: Duterte issued Executive Order No. 10 which created the 25-member Consultative Committee (ConCom) on December 7, 2016 for the review of the 1987 Constitution. Duterte appointed the first 22 members of the committee in January 24, 2018. The ConCom submitted its first federal constitution draft on July 9, 2018.


title: Federalism in the Philippines

text: In 2018, surveys showed a lack of awareness on federalism was attributed to the lack of support for the campaign by the public. As of August 2020, the Duterte administration was still pursuing the shift to federalism and was considering three options to accomplish this; by amending the 1987 Constitution through Constitutional Convention (Con-Con), Constituent Assembly (Con-Ass), or people's initiative.


title: Neal Morse

text: Neal Morse (born August 2, 1960) is an American singer, musician and composer based in Nashville, Tennessee. In 1992, he formed the progressive rock band Spock's Beard with his brother Alan and released an album which was moderately successful. In 1999, he joined Dream Theater's co-founder and then drummer Mike Portnoy, together with Flower Kings' Roine Stolt and Marillion's Pete Trewavas they formed the super-group Transatlantic. In 2002, Neal Morse became a born again Christian, left Spock's Beard and began a Christian rock solo career, releasing many progressive rock concept albums about his new religious faith. In the meantime, he continued to play with Transatlantic and formed three new bands with Portnoy, Yellow Matter Custard, Flying Colors and The Neal Morse Band.


title: Neal Morse

text: Morse grew up in the San Fernando Valley of Los Angeles as one of four children. His father was a choral director. Morse started to play the piano at the age of five and started to learn to play the guitar at the age of nine. During his twenties he wrote two musicals ("Hit Man" and "Homeland"), did some session jobs, tried to get a deal as a singer-songwriter in Los Angeles, and recorded a few country and western demos with his brother Richard.


title: Neal Morse

text: After about ten years, having played in small Californian clubs with various groups including Burlesque, Morse founded Spock's Beard together with his brother Alan, to give voice to his great passion for Progressive Rock. Their first album, "The Light" (1995), was moderately successful. Despite having released the first two Spock's Beard albums to good critical acclaim, Morse found himself struggling economically. His brother Richard advised him to go to Germany to play hit songs as a one-man band in pubs, accompanying himself with piano or guitar, to generate income. Morse then began periodic travel between California and Germany, where from time to time he remained for several weeks to work as a pub musician. During his periods in California, Morse continued to alternate work on new compositions for Spock's Beard, and live performance with them. At that time Morse was also part of the Eric Burdon band, touring with them, too. The popularity of Spock's Beard's continued to grow and they would soon become one of a number of successful progressive rock bands during the late nineties (along with Dream Theater, Porcupine Tree, and The Flower Kings).


title: Neal Morse

text: While with Spock's Beard, Morse released two solo albums of more conventional straightforward rock music. In 1999, he joined former Dream Theater co-founder Mike Portnoy, Flower Kings' Roine Stolt and Marillion's Pete Trewavas to form the supergroup Transatlantic. The band has released five studio albums ("", "Bridge Across Forever", "The Whirlwind", "Kaleidoscope" and "The Absolute Universe") plus live albums from the tours behind each studio disc: "Live in America", "Live in Europe", "", "" and "KaLIVEoscope". In concert, the group has included Daniel Gildenlöw of Pain of Salvation, and occasionally Ted Leonard, Morse's eventual replacement in Spock's Beard.


title: Neal Morse

text: In 2003, Morse, Mike Portnoy, Paul Gilbert and Matt Bissonette formed Yellow Matter Custard as a Beatles tribute supergroup. They took the name from a lyric in The Beatles song "I Am the Walrus": 'Yellow matter custard, dripping from a dead dog's eye...' On March 26, 2012, Morse released the first album of the newly formed band Flying Colors (Mike Portnoy on drums and vocals, Dave LaRue on bass, Neal Morse on keyboards and vocals, Casey McPherson on lead vocals, and guitar, and Steve Morse on lead guitar). In 2014, he gave life to another group, The Neal Morse Band (with Mike Portnoy, Randy George, Eric Gillette and Bill Hubauer), that released its first studio album "The Grand Experiment" in 2015. The group's second outing, "The Similitude of a Dream", was released on November 11, 2016, and the sequel to that album, "The Great Adventure", was released on January 25, 2019. Their fourth release, "Innocence & Danger" was released on August 27, 2021.


title: Neal Morse

text: Morse became a born again Christian in 2002. He left both Spock's Beard and Transatlantic immediately following the release of the Spock's Beard album "Snow", in response to a calling to make his personal faith more prominent in his recorded output. He felt this would not be possible or appropriate in a band context. The period leading to this decision is described on the solo album "Testimony" (2003), an epic, introspective composition which features Kerry Livgren of Kansas and Mike Portnoy. One part of his conversion to Christianity, omitted from "Testimony" but described in full on "Testimony Live" and later in the song "Jayda" on "Testimony 2", was that his daughter Jayda had been diagnosed as having a hole in her heart that required open-heart surgery. However, before Jayda received surgery, the hole disappeared following a church service in which Morse's wife and others prayed for God's healing.


title: Neal Morse

text: In 2004, Morse wrote and recorded a new concept album featuring Portnoy and Randy George (on bass guitar). Guitar virtuoso Phil Keaggy made a guest appearance on guitar and vocals. The album, titled "One", is about man's relationship with God from his Christian perspective and was released on November 2, 2004. In 2005, Morse released two non-prog Christian albums. In January, Morse recorded Lead Me Lord with the Christian Gospel Temple Choir, his children, and his friends. Morse wrote about half of the tracks. This was released in February and is available for a donation. In July, Morse released "God Won't Give Up", which was written around the "Snow" period. This is a pop album similar to "It's Not Too Late", but with Christian lyrics.


title: Neal Morse

text: In the summer of 2005, a member of his church approached Morse to tell him that he should make an album based on the tabernacle and that he should keep it a secret. Morse nonetheless mentioned that he was working on a secret project before he had written a note or even committed himself to do the project. Mentioning it during a radio interview created enough buzz to convince him to make the album. There was a contest on his message board to guess the participants, theme, and meaning of the album based on a series of clues. The secret project was finally revealed to be "?" (also known as The Question Mark album, rumored to be influenced in title by The White Album) and is about the tabernacle in the wilderness and the tabernacle of the heart. The studio band is Neal, Mike Portnoy, and Randy George with guests Mark Leniger, Alan Morse, Roine Stolt, Steve Hackett, and Jordan Rudess.


title: Neal Morse

text: In 2006, Morse issued "Cover to Cover", a collection of cover versions by Mike Portnoy, Randy George and him, recorded during the production of "?", "One" and "Testimony", proving that despite the new focus of his solo career Morse wasn't averse to tackling songs with non-religious themes. In early 2007, Morse released "Sola Scriptura", a concept album detailing the life and struggles of the German theologian Martin Luther, and corruption within the medieval Church. Portnoy and George once again teamed with Morse and were joined by Paul Gilbert (of Racer X and Mr. Big) who contributed a few solo parts.


title: Neal Morse

text: Immediately following "Sola Scriptura", Morse released the acoustic folk album "Songs from the Highway". The studio album "Lifeline" was released on September 30, 2008. Morse was once again joined by Portnoy and George, just four months after the release of the "Sola Scriptura" live DVD. A live album, "So Many Roads", recorded with his European band, was released on June 30, 2009.


title: Neal Morse

text: "Testimony 2", a sequel and expansion of the autobiographical story from the first Testimony album, was released May 23, 2011. As had become Morse's pattern, he followed that album with a tour and live DVD. Also in 2011, he released a book, "Testimony", a continued autobiographical look at his life story and spiritual journey explored in more detail than in the associated Testimony albums.


title: Neal Morse

text: Momentum was released on September 11, 2012, an album that, in structure, featured several shorter songs and one epic.


title: Neal Morse

text: In recent years, Morse has recorded two more cover albums with George and Portnoy ("Cover 2 Cover" in 2012 and "Cov3r to Cov3r" in 2020), a guest-heavy prog rock musical retelling the life and Passion of Christ ("Jesus Christ the Exorcist", released in 2019), and a biographical album in the vein of "Sola Scriptura" based on the conversion and writings of Paul the Apostle ("Sola Gratia", released in 2020).


title: Neal Morse

text: During his early solo years, Morse focused most of his touring in Europe and had a band made largely of European musicians. The incarnation that toured in Europe for Sola Scriptura, for example, included Collin Leijenaar (drums, music director), Paul Bielatowicz (guitars), Elisa Krijgsman (guitars), Wilco van Esschoten (bass guitar), Jessica Koomen (vocals, keyboards, percussion) and Henk Doest (keyboards). For Testimony 2, Morse reunited members from the band that toured the initial Testimony album, including Portnoy, George, Rick Altizer and others. He then held a contest to assemble a full-time band, which eventually toured behind Momentum. This new band consisted of Mike Portnoy (drums), Randy George (bass), Eric Gillette (guitars, keyboards) and Bill Hubauer (keyboards). Guitarist Adson Sodré was in the band until visa issues forced his departure.


title: Neal Morse

text: In 1997 he became a member of Eric Burdon's I band. They also released the concert film "Live at the Coachhouse". In 2000, Morse provided vocals for the song "The First Man on Earth" on "", one of Arjen Anthony Lucassen's Ayreon albums. Neal Morse tracks have also appeared on the "CPR Volume 1" (2004), "CPR Volume 2", and The Tsunami Projekt anthologies. Morse also participated in recording the ProgAID single "All Around the World". The profits for both The Tsunami Projekt and the ProgAID single were donated for victims' relief from the 2004 Asian tsunami.


title: Neal Morse

text: Morse has been a guest musician on several 2005 albums, including Ajalon's "Threshold of Eternity", Roine Stolt's "Wallstreet Voodoo", Salem Hill's "Mimi's Magic Moment", and Mark Leniger's "Walk on Water". Morse was one of several musical guests to appear on Dream Theater's 2007 album "Systematic Chaos", on the song "Repentance". These guests were recorded apologizing to important people in their lives for wrongdoings committed in the past. Morse provided vocals for the first track on Jordan Rudess' tribute album "The Road Home".


title: Neal Morse

text: In 2020, he joined Matt Smith of Theocracy in releasing "And the Rest Is Mystery" under the Project Aegis moniker.


title: Neal Morse

text: In 1998, Morse founded his own independent record label, Radiant Records. The label serves as an outlet for his work in a variety of capacities—including development, licensing, promotion and distribution.


title: Neal Morse

text: In 2005, Morse created his fan club, the Inner Circle. The monthly membership provides an email newsletter and special releases to members every other month. Over the years, he has released many behind the scenes features, demo sessions, and bootlegs to the Inner Circle. See Inner Circle discography


title: Neal Morse

text: In 2019, at the dissatisfaction of current streaming services and their treatment of artists, Morse created his own streaming service, Waterfall. Most of Morse's and his collaborator's discographies can be found exclusively on the platform.


title: Neal Morse

text: In 2014, Morse created "Morsefest", a weekend concert festival held at his local church, New Life Fellowship, in Cross Plains, TN. The name of the event was chosen by Mike Portnoy against Morse's wishes, however the name stuck. The inaugural Morsefest occurred on November 14–15, 2014 and featured the "Testimony" and "One" albums played in their entirety with string, horn, percussion, and choir sections as well as a morning Inner Circle acoustic show. This two-day format with a large array of added musicians has continued annually featuring albums and musicians from all of Morse's projects, The Neal Morse Band, Spock's Beard, Flying Colors, and most recently in 2022, Transatlantic.


title: Neal Morse

text: In 2020 and 2021, Morsefest went on with "Lockdown" editions due to the COVID-19 pandemic with a limited live audience, and for the first time, a virtual streaming option.


title: Kinescope

text: Kinescope , shortened to kine , also known as telerecording in Britain, is a recording of a television program on motion picture film, directly through a lens focused on the screen of a video monitor. The process was pioneered during the 1940s for the preservation, re-broadcasting and sale of television programmes before the introduction of quadruplex videotape, which from 1956 eventually superseded the use of kinescopes for all of these purposes. Kinescopes were the only practical way to preserve live television broadcasts prior to videotape.


title: Kinescope

text: Typically, the term Kinescope can refer to the process itself, the equipment used for the procedure (a movie camera mounted in front of a video monitor, and synchronized to the monitor's scanning rate), or a film made using the process. The term originally referred to the cathode ray tube used in television receivers, as named by inventor Vladimir K. Zworykin in 1929. Hence, the recordings were known in full as kinescope films or kinescope recordings. RCA was granted a trademark for the term (for its cathode ray tube) in 1932; it voluntarily released the term to the public domain in 1950.


title: Kinescope

text: Film recorders are similar, but record source material from a computer system. Whereas a kinescope records television to film, a telecine is used to play film back on television.


title: Kinescope

text: The General Electric laboratories in Schenectady, New York experimented with making still and motion picture records of television images in 1931.


title: Kinescope

text: There is anecdotal evidence that the BBC experimented with filming the output of the television monitor before its television service was suspended in 1939 due to the outbreak of World War II. A BBC executive, Cecil Madden, recalled filming a production of "The Scarlet Pimpernel" in this way, only for film director Alexander Korda to order the burning of the negative as he owned the film rights to the book, which he felt had been infringed. While there is no written record of any BBC Television production of "The Scarlet Pimpernel" during 1936–1939, the incident is dramatised in Jack Rosenthal's 1986 television play "The Fools on the Hill".


title: Kinescope

text: Some of the surviving live transmissions of the Nazi German television station Fernsehsender Paul Nipkow, dating as far back as the 1930s, were recorded by pointing a 35 mm camera to a receiver's screen, although most surviving Nazi live television programs such as the 1936 Summer Olympics (not to confuse with the cinematic footage made during the same event by Leni Riefenstahl for her film "Olympia"), a number of Nuremberg Rallies, or official state visits (such as Benito Mussolini's) were shot directly on 35 mm instead and transmitted over the air as a television signal, with only a two minutes' delay from the original event, by means of the so-called "Zwischenfilmverfahren" (see intermediate film system) from an early outside broadcast van on the site.


title: Kinescope

text: According to a 1949 film produced by RCA, silent films had been made of early experimental telecasts during the 1930s. The films were produced by aiming a camera at television monitors – at a speed of eight frames per second, resulting in somewhat jerky reproductions of the images. By the mid-1940s, RCA and NBC were refining the filming process and including sound; the images were less jerky but still somewhat fuzzy.


title: Kinescope

text: By early 1946, television cameras were being attached to American guided missiles to aid in their remote steering. Films were made of the television images they transmitted for further evaluation of the target and the missile's performance.


title: Kinescope

text: The first known surviving example of the telerecording process in Britain is from October 1947, showing the singer Adelaide Hall performing at the RadiOlympia event. Hall sings "Chi-Baba, Chi-Baba (My Bambino Go to Sleep)" and "I Can't Give You Anything But Love", as well as accompanying herself on ukulele and dancing. When the show was originally broadcast on BBC TV it was 60 minutes in length and also included performances from Winifred Atwell, Evelyn Dove, Cyril Blake and his Calypso Band, Edric Connor and Mable Lee, and was produced by Eric Fawcett. The six-minute footage of Miss Hall is all that survives of the show.


title: Kinescope

text: From the following month, the wedding of Princess Elizabeth to Prince Philip also survives, as do various early 1950s productions such as "It is Midnight, Dr Schweitzer", "The Lady from the Sea" and the opening two episodes of "The Quatermass Experiment", although in varying degrees of quality. A complete 7-hour set of telerecordings of Queen Elizabeth II's 1953 coronation also exists.


title: Kinescope

text: In the era before satellite communications, kinescopes were used to distribute live events such as a royal wedding as quickly as possible to other countries of the Commonwealth that had started a television service. A Royal Air Force aircraft would fly the telerecording from the UK to Canada, where it would be broadcast over the whole North American network.


title: Kinescope

text: Prior to the introduction of videotape in 1956, kinescopes were the only way to record television broadcasts, or to distribute network television programs that were broadcast live from originating cities to stations not connected to the network, or to stations that wished to show a program at a time different than the network broadcast. Although the quality was less than desirable, television programs of all types from prestigious dramas to regular news shows were handled in this manner.


title: Kinescope

text: Even after the introduction of videotape, the BBC and the ITV companies made black and white kinescopes of selected programs for international sales and continued to do so until the early 1970s by which time programs were being videotaped in colour. Most, if not all, videotapes from the 405-line era have long since been wiped as have many from the introduction of 625-line video to the early days of colour. Consequently, the majority of British shows that still exist before the introduction of colour, and a number thereafter, do so in the form of these telerecordings. A handful of shows, including some episodes of "Doctor Who" and most of the first series of "Adam Adamant Lives!", were deliberately telerecorded for ease of editing rather than being videotaped.


title: Kinescope

text: In September 1947, Eastman Kodak introduced the Eastman Television Recording Camera, in cooperation with DuMont Laboratories and NBC, for recording images from a television screen under the trademark "Kinephoto". NBC, CBS, and DuMont set up their main kinescope recording facilities in New York City, while ABC chose Chicago. By 1951, NBC and CBS were each shipping out some 1,000 16 mm kinescope prints each week to their affiliates across the United States, and by 1955 that number had increased to 2,500 per week for CBS. By 1954 the television industry's film consumption surpassed that of all of the Hollywood studios combined.


title: Kinescope

text: After the network of coaxial cable and microwave relays carrying programs to the West Coast was completed in September 1951, CBS and NBC instituted a "hot kinescope" process in 1952, where shows being performed in New York were transmitted west, filmed on two kinescope machines in 35 mm negative and 16 mm reversal film (the latter for backup protection) in Los Angeles, rushed to film processing, and then transmitted from Los Angeles three hours later for broadcast in the Pacific Time Zone. In September 1956, NBC began making colour "hot kines" of some of its color programs using a lenticular film process which, unlike colour negative film, could be processed rapidly using standard black-and-white methods. They were called "hot kines" because the film reels being delivered from the lab were still warm from the developing process.