William N. Robson

William N. Robson (October 8, 1906 – April 10, 1995) was a director and producer of radio programs.
Early life.
Robson was born William N. Robson II in Pittsburgh, Pennsylvania, the son of William N. Robson and Gertrude Brehm Robson. His father handled public relations for the Loyal Order of Moose and was described in a newspaper article as being "known from coast to coast." He was involved in entertainment as early as age 9, when a newspaper article about a 1916 amateur production in Pittsburgh reported, "Little Bill Robson has six parts in the show ... "
Robson graduated from Allegheny High School and attended the University of Pittsburgh for two years, leaving the school to become a reporter for the "Pittsburgh Post". He attended Yale University, graduating in 1928.
In the 1920s, Robson had his own musical group, Bill Robson and His Yale Music. In the summers of 1926, 1927, and 1928, the group toured Europe, performing in Paris, Vienna, and Berlin, among other cities.
Robson was the screenwriter for the 1933 Paramount Pictures film "Private Jones". He worked as an associate producer at Paramount for three years.
Radio career.
Robson spent most of his career involved with radio. His radio debut came in 1936 as director of "Big Town". He succeeded Irving Reis as head of the Columbia Workshop.
Perhaps the most notable of Robson's productions was "Suspense", followed closely by the similarly formatted "Escape". "Suspense" lasted more than two decades on the air with more than 900 episodes broadcast. Ronald L. Smith wrote about "Suspense" and "Escape" in his book, "Horror Stars on Radio: The Broadcast Histories of 29 Chilling Hollywood Voices": "Both used the same format: a challenging (if anonymous) host introducing a story of murder or perhaps classic horror. Robson favored adaptations of anything from Poe tales to a good yarn in the latest issue of "Esquire" magazine."
Robson's roles in other radio programs included those shown in the table below.
Robson left CBS in 1939 to become director of an advertising firm's radio department, and after the United States entered World War II he helped to prepare broadcasts for the Office of Emergency Management and the War Production Board. He returned to CBS in May 1942 to help the network prepare programs related to the war.
Accusations of communist sympathies.
On June 22, 1950, a pamphlet called "Red Channels" appeared, focusing on the field of broadcasting. Robson was among 151 entertainment industry professionals (erroneously) named in the context of "Red Fascists and their sympathizers".
Eric Barnouw's "A History of Broadcasting in the United States: Volume 2: The Golden Web: 1933 to 1953" summarized the accusations against Robson as follows:
The Red Channels listing for Robson contained four items. It said that (1) in 1942, he had been sponsor of an Artists Front to Win the War organized at a meeting in Carnegie Hall (2) in December 1946, he had made a speech in Los Angeles, protesting encroachments on freedom of expression; (3) in 1948, he had signed with other artists a "We Are For [Progressive Party candidate Henry] Wallace" advertisement in the "New York Times".(4) he was listed as an "associate" on the masthead of the Hollywood Quarterly, a scholarly journal of film, radio, and television published by the University of California Press.
This guilt-by-association would affect Robson's career over the next decade.
Television.
Robson was the producer of "Sure as Fate", a mystery series that debuted on CBS in the summer of 1950. The listing in "Red Channels" took its toll, however, resulting in his replacement as producer (although he was paid for the full length of his contract). During the hiatus, he used a pseudonym as a writer for the television version of "Suspense (U.S. TV series)". Even that activity ceased, however, after "he was told that orders from CBS headquarters in New York had forbidden further assignments to him."
During the 1950s, he wrote television dramas. In 1961, he joined the Voice of America where he produced documentaries, among them "New York, New York" on which Garry Moore interviewed celebrities visiting the city, and "200 Years Ago Tonight", a series about the American Revolutionary War produced during the bicentennial year of 1976. His time at the VOA won him four additional Peabody Awards.
Recognition.
Three of Robson's radio works received George Foster Peabody Awards:
Later life.
With regard to his radio career, Robson would enthusiastically reflect to Dick Bertell in 1976: "The great period of radio was from 1937, '38 really, through the war. It was only 7 years—the golden age of radio. 'Suspense' and 'Escape'—those are the things one does later because one has all the skills at his fingertips. At this time we were trying to find out how to do it ... We were learning skills, we were sharpening and honing our abilities ... when Irving Reis did "The Fall of the City" in the spring of '37 [it was written] by Archibald MacLeish—one of America's outstanding poets—a man who was so impressed by the medium of radio that he submitted to Irving Reis and the Columbia Workshop a first play for radio. And who directed that? Irving Reis with all of the director staff of CBS assisting him. Earle McGill, Brewster Morgan, myself, Bill Spier all assisting. Orson Welles as narrator, Burgess Meredith as chief orator. Names that we conjure with now that were just kids then, just kids. That was the time."
Death.
Robson died at his home in Alexandria, Virginia, from complications of Alzheimer's disease. He was survived by his wife, Shirley; three sons; and one grandson.


Abraham Polonsky

Abraham Lincoln Polonsky (December 5, 1910 – October 26, 1999) was an American film director, screenwriter, essayist and novelist. He was nominated for an Academy Award for Best Original Screenplay for "Body and Soul" but in the early 1950s was blacklisted by the Hollywood movie studios, after refusing to testify at congressional hearings of the House Un-American Activities Committee, in the midst of the McCarthy era.
Early life.
Abraham Polonsky was born in New York City, the eldest son of Russian Jewish immigrants, Henry and Rebecca (née Rosoff) Polonsky. He attended DeWitt Clinton High School with classmates and lifelong friends Roy Pinney and Bernard Herrmann.
In 1928, he entered City College of New York and, following graduation, earned his law degree in 1935 at Columbia Law School. After several years of practice, mixed with teaching, he decided to devote himself to writing.
Career.
Polonsky wrote essays, radio scripts and several novels before beginning his career in Hollywood. His first novel, "The Goose is Cooked", written with Mitchell A. Wilson under the singular pseudonym of Emmett Hogarth, was published in 1940.
A committed Marxist, in the late 1930s Polonsky joined the Communist Party of the USA. He participated in union politics and established and edited a left-wing newspaper, "The Home Front".
Polonsky signed a screenwriter's contract with Paramount Pictures before leaving the US to serve in Europe in the Office of Strategic Services during World War II (from 1943 to 1945). He worked with the French resistance to write scripts and direct programs for the clandestine OSS radio stations. He did not have the opportunity to write screenplays for the studio until after the end of the war.
In 1947, he was credited with two screenplays for Paramount: the screenplay for "Golden Earrings", directed by Mitchell Leisen, and the screenplay for Robert Rossen's independent production "Body and Soul", (1947) starring John Garfield and Lilli Palmer. The screenplay was nominated for an Academy Award.
Polonsky's first film as a director, "Force of Evil" (1948), was not successful when released in the United States, but it was hailed as a masterpiece by film critics in England. The film, based on the novel "Tucker's People" by Ira Wolfert, has since become recognized as one of the great American films noir. In 1994, it was selected for preservation in the National Film Registry by the Library of Congress for being "culturally, historically, or aesthetically significant."
Hollywood blacklist.
Polonsky's career as a director (and credited writer) came to an abrupt halt when he refused to testify before the congressional House Un-American Activities Committee (HUAC) in 1951. Illinois congressman Harold Velde called the director a "very dangerous citizen" at the hearings. While blacklisted, Polonsky continued to write film scripts under various pseudonyms or fronts, most of which have never been revealed.
It is known that Polonsky, along with Nelson Gidding, co-wrote the screenplay for "Odds Against Tomorrow" (1959), based on a novel of the same name by William McGivern. It was initially credited to Oliver Killens, who acted as a front for him. Polonsky was not given public credit for the screenplay until 1997, when the Writers Guild of America, west officially restored his name to the film under the WGA screenwriting credit system.
Later life.
In 1968, Polonsky was the screenwriter for "Madigan", a police noir, and Polonsky used his own name in the credits. The film was directed by Don Siegel, starring Richard Widmark and Henry Fonda.
After a prolonged absence, Polonsky returned to directing in 1969 with the Western film "Tell Them Willie Boy Is Here", a tale of a fugitive Native American pursued by a posse. Polonsky converted it into an allegory about racism, genocide, and persecution.
Polonsky was an uncredited scriptwriter for "Mommie Dearest" (1981), based on Christina Crawford's memoirs of her adoptive mother Joan Crawford. He also wrote the screenplay for "The Man Who Lived at the Ritz" (1981), based on a novel by A. E. Hotchner. A Marxist until his death, Polonsky publicly objected when director Irwin Winkler rewrote his script for "Guilty by Suspicion" (1991), a film about the Hollywood blacklist era. Winkler changed his lead character (played by Robert De Niro) to a liberal, rather than a Communist.
Polonsky received the Career Achievement Award of the Los Angeles Film Critics Association in 1999. Prior to that, Polonsky taught a philosophy class at USC School of Cinema-Television called "Consciousness and Content". While he had resigned his membership in the Communist Party in the 1950s after rejecting Stalinism, he remained committed to Marxist political theory, stating in an interview in 1999: "I was a Communist because I thought Marxism offered the best analysis of history, and I still believe that."
Until his death, Polonsky was a virulent critic of director Elia Kazan, who had testified before HUAC and provided names to the Committee. In 1999, he was enraged when Kazan was honored by the Academy of Motion Picture Arts and Sciences for lifetime achievement, stating that he hoped Kazan would be shot onstage: "It would no doubt be a thrill in an otherwise dull evening." Polonsky also said that his latest project was designing a movable headstone: "That way if they bury that man in the same cemetery, they can move me." Thom Andersen interviewed Polonsky in the 1990s about the events of the years when the Hollywood Ten were blacklisted for his film "Red Hollywood".
Polonsky died on October 26, 1999, in Beverly Hills, California, aged 88.


The Cromwell Argus

The Cromwell Argus was a newspaper in Cromwell, New Zealand from 1869 to 1948.
"The Cromwell Argus" was founded by James Matthews and George Fenwick, and was instrumental in the latter's career. Matthews and Fenwick were colleagues at the "Otago Daily Times". Matthews bought the "Tuapeka Press and Goldfields Advocate" and offered Fenwick a partnership, and Fenwick's younger brother William a job. Tuapeka proved too small for two newspapers and when they were offered £150 from their competition, the "Tuapeka Times", they sold the rights to their newspaper to them.
Looking for other opportunities, Matthews and Fenwick identified Cromwell that did not have a newspaper yet. When they investigated the town in detail in October 1868, they found that Robert Carrick intended to set one up. When Carrick agreed to drop his venture Matthews and Fenwick proceeded, only to find that Carrick had changed his mind and was also going ahead with his "Cromwell Guardian". The last issue of the "Tuapeka Press and Goldfields Advocate" was printed on Wednesday, 3 November 1868 and after the normal print run, they changed the masthead to read "The Cromwell Argus" and printed the first issue in Lawrence. Fenwick rode by horse from Tuapeka to Cromwell and by the following Monday had distributed the 500 copies printed for the first issue. As they explained in their first edition, it did thus not contain any local Cromwell news. Their rival paper, the "Cromwell Guardian", did not last for long.
In 1871, George Fenwick transferred his part-ownership to this younger brother and moved to Dunedin. In 1875, William Fenwick and Matthews sold "The Cromwell Argus" to Stephen Noble Brown. Subsequent ownership changes took place in 1887 (Thomas McCracken), 1899 (Abel Warburton), 1905 (James Goodger), 1920 (Richard Grose Vercoe), 1927 (James Robert Munro), and 1943 (William Washington Webb). The last edition of "The Cromwell Argus" was issued on 26 October 1948.
The newspaper office was in Melmore Terrace, Cromwell's main street. When the Clyde Dam was filled in 1990 it flooded most of that main street. Many buildings from the 1860s were rebuilt on higher ground and now form the town's heritage precinct. The office building of "The Cromwell Argus" is one of those relocated buildings.


Kim Gehrig

Kim Gehrig is an Australian director whose body of work spans commercials, music videos, documentaries, short films and branded entertainment. Her notable commercial works include the This Girl Can campaign, the John Lewis Christmas advert in 2015, Stepping for Honda, Gillette's 'The Best Men Can Be' and many more for brands including IKEA, GAP, Amnesty International and Libresse. In music videos Kim has collaborated with artists such as Chaka Khan, Wiley, Calvin Harris and Basement Jaxx. Her work has won numerous awards including a UK Music Video Award and a Glass Lion at the Cannes Lions International Festival of Creativity.
Career.
Gehrig was born in Sydney, Australia, and moved to London to study at Central Saint Martins, University of the Arts London. The first eight years of her career were spent as a Creative at advertising agency Mother.
One of her first major works as a director was the 'You are Powerful' video for Amnesty International, released on the 60th anniversary of the Universal Declaration of Human Rights. For this she won a Silver Lion at Cannes Lions International Festival of Creativity 2010 and a broadcast award by the Young Director Awards.
In a collaboration with Australian musician Kirin J. Callinan, Gehrig directed a video challenging toxic masculinity and pressure for men to look like bodybuilders in Australia, overlaid with Callinan covering Divine's 'You Think You're a Man'.
Gehrig works for Somesuch advertising productions, who were awarded Advertising Age's 2018 Production Company of the Year for their work in promoting social justice through advertising.
This Girl Can (Sport England).
Gehrig directed the multi award-winning advert for the This Girl Can campaign by Sport England to encourage more women to take part in sport. The video features personal and unfiltered clips of women exercising as they would be normally. The advert was praised for its bold and empowering message, winning awards including a Glass Lion for Good at Cannes Lions 2015. Sport England estimated that an additional 2.8 million women decided to take up a sport after the advert's release. The first advert was followed by 'Phenomenal Women', showcasing women from all walks of life engaging in sport set to Maya Angelou's recital of . Gehrig stated in 2018 that 'This Girl Can' is the video she is most proud of.
Man on The Moon (John Lewis).
Later in 2015 Gehrig premiered the first John Lewis Christmas advert to be directed by a woman; 'Man on The Moon'. The advert constituted part of John Lewis' partnership with Age UK to raise awareness of loneliness in the elderly, showing a lonely old man living on the moon being sent a gift by a young girl on earth. The video was set to a cover of Oasis' "'Half the World Away"' by Aurora.
Viva la Vulva (Libresse).
Gehrig directed the award-winning 'Viva la Vulva' advert for Libresse, a celebration of the vagina and women body confidence. The video contains many items from normal life which resemble vaginas as well as puppetry and outfits resembling genitalia. It was set to the music of Camille Yarbrough's "'Take Yo' Praise'.".
The Best Men Can Be (Gillette).
Gehrig again rose to prominence in 2019 for 'The Best Men Can Be' advertising video by razor company Gillette, which challenges its earlier tagline of "The Best a Man Can Get" and the effects of toxic masculinity. The advert was praised by some for its message against the traditional concepts of how men should be, and how this impacts mental health as well as women. However, the advert was criticised by others for its negative portrayal of men. Multiple commentators, such as Piers Morgan, were incensed by the campaign and vowed to boycott the company. "Marketing Week" saw the backlash towards the ad as backfiring on Gillete following declining sales metrics for the brand. Gehrig responded to some of the criticism by saying: "The project had actually been conceived, written and edited by men. But because I'm a female director, it fitted neatly into a troll's narrative."
Music Videos.
Gehrig has directed numerous music videos in addition to her advertising work. She won 'Best Urban Music Video' at the 2009 UK Music Video Awards for Wiley 's "'Cash in My Pocket'", and was nominated in 2018 for her music video for Chaka Khan's "'Like Suga"'.
Personal life.
Gehrig has two daughters, and currently lives in the United States.


Hot Problems

"Hot Problems" is a song released by the musical group Double Take which consists of Drew Garrett and Lauren Willey.
Spread and reception.
On April 17, 2012, the "Hot Problems" music video was featured on several news sites, and received negative reviews. The song has been called "the worst song ever", with some YouTubers claiming that the song is worse than Rebecca Black's "Friday".
Willey and Garrett's responses.
"We don't think that we're that hot," the teens told ABC regarding their lyrics. Garrett and Willey also told ABC that they are "open" to careers as songwriters. The teens stated that they made the song because they wanted something funny to show to their friends and didn't mean anything from it. "We knew that we couldn't actually sing, so we decided to go for more of a talking singing", Garrett told the media outlet.


Chantal McCorkle

Chantal Watts McCorkle (born 1968, in Slough, England) is a British citizen who along with her American husband, William J. McCorkle (formerly Gonzalez), was tried and convicted, in 1998, in Florida, for her part in a financial fraud. The McCorkles sold kits purporting to show buyers how to get rich by buying property in foreclosures and government auctions. They advertised on infomercials; among the grounds for their conviction was their representation in the infomercials that they owned luxury automobiles and aeroplanes which had been rented for the commercials, and their use of purported testimonials from satisfied customers, who were paid actors.
She and her husband, both represented by F. Lee Bailey, were each originally sentenced to over 24 years in federal prison, under mandatory sentencing laws. After two appeals, the McCorkles' sentences were reduced, in 2006, to 18 years.
Prison sentence controversy.
McCorkle's incarceration in the US Federal Prison system began on 5 November 1998. She was assigned the following inmate identification number: 23033-018.
The severity of McCorkle's sentence drew notice in the United Kingdom, both in national media such as the BBC and amongst British politicians. On 22 February 2005, Early Day Motion number 733 in the British Houses of Parliament debated the following topic:-
"That this House notes that Chantal McCorkle, a British citizen, was sentenced to 24 years and four months imprisonment in the United States for offences which might carry only a suspended sentence in the UK; further notes that the judge who sentenced her in 1999 expressed disquiet at the sentence that she felt obliged to give; further notes that recent cases of Blakely and Booker in the United States Supreme Court cast doubt on the sentencing guidelines then used and give grounds for an appeal; and urges the Government to support Chantal's lawyers and press the United States legal system to hear Chantal's appeal against sentence as expeditiously as possible and to ensure that no barriers are placed to Chantal's transfer to the UK to serve whatever remaining sentence she has after her appeal."
A total of 127 British MPs officially endorsed the early day motion and their American counterparts were made aware, though previous letters had already been sent by other politicians such as Lord Longford. Although subsequent representations have been made to the American judicial system e.g. by Fiona Mactaggart (an MP, and former Prisons Minister) these were not acted on.
After several years of legal appeals against her sentence, McCorkle applied to transfer to a British prison to serve the remainder of her sentence, under the terms of a reciprocal treaty with the USA. However, her application was rejected in July 2006. McCorkle reapplied for a treaty transfer in 2008 but her application was once again rejected in October of that year.
On 30 October 2008, McCorkle received a letter from the United States Office of the Pardon Attorney rejecting her request for commutation of her sentence.
After being transferred from FCI Dublin in California, as of July 2009 she was an inmate at FMC Carswell (Fort Worth, Texas) in the United States with an expected prison sentence expiry date of 7 July 2014. McCorkle remained in a medium-security prison, whereas William J. McCorkle (her ex-husband), had transferred to a low-security "camp" prison the previous year. McCorkle was not eligible for transfer to a lower-security prison because, as a British citizen, she was viewed as a high flight risk.
Transfer to the UK & release from prison.
A subsequent request for a Treaty Transfer (i.e. to serve the remainder of her sentence in a UK prison) was approved in May 2009. In early August, McCorkle appeared at a Texas Magistrate's Court to sign legal papers formally consenting to return to the UK. By 24 August 2009 McCorkle was in transit to the UK, incarcerated first at the BOP Federal Transfer Center in Oklahoma City and then (on 29 August) at the Metropolitan Correctional Center, New York. On 30 September 2009 she was driven to the nearest international airport, where custody was signed over to British prison officers who escorted her back to the UK. After arriving at London Heathrow Airport, McCorkle was transferred to HM Prison Holloway in London. At Holloway she was assigned the following inmate identity number: EP6484.
On 30 October 2009, McCorkle was transferred to HM Prison Send, near Woking in Surrey. HMP Send has a significantly lower security classification than HMP Holloway, with a much easier prison regime. In early February 2010 she was transferred to HM Prison East Sutton Park and assigned the inmate identity number A2760AG. HMP East Sutton Park is an "open prison" i.e. has the lowest possible security rating in the British penal system. There are no security fences surrounding the prison and, subject to conditions, inmates are able to leave the grounds for home visits. McCorkle remained at HMP East Sutton Park until her release from prison on 25 June 2010.
After release from prison.
As of September 2010 she was living in Buckinghamshire, UK.
External links.
[[Category:Living people]]
[[Category:1968 births]]
[[Category:English criminals]]
[[Category:English fraudsters]]
[[Category:People from Slough]]
[[Category:People convicted of fraud]]


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The Wolf (radio network)

The Wolf was a radio network in New Zealand based from Lake Tekapo in South Canterbury. The station operated between 2001 and 2003 and was independently owned and operated. The Wolf broadcast to rural areas where in some cases the larger network stations did not broadcast or operate local stations. The Wolf started at a time when many New Zealand stations had been taken over by New Zealand's two largest radio companies The Radio Network and MediaWorks NZ or replaced with a network product based from one of the main centres, particularly Auckland.
Due to funding issues, the network went off the air permanently in 2003.
Regions The Wolf Broadcast to.
The Wolf broadcast nationwide through the Sky Digital service, and on AM or FM in the following areas:


Douglas Biklen

Douglas Paul Biklen (born September 8, 1945) is an American educator best known for "facilitated communication", a scientifically discredited technique which purports to allow non-verbal people (particularly those with autism) to communicate.
Biklen learned of work of Rosemary Crossley and developed the theory of facilitated communication in Melbourne, Australia and exported it to the United States. According to this theory, some individuals whose communication is hindered by developmental coordination disorder can communicate with the aid of a facilitator, who supports the patient's hand while he or she types words on a keyboard. However, studies have repeatedly found that the messages produced through facilitated communication are authored by the facilitator, rather than the disabled person. In all controlled studies where clients and facilitators are given different information (shown two different objects, for example) what is typed responds to what is seen by the facilitator, not the client.
Biklen co-produced the 2004 film "Autism Is a World", directed by Geraldine Wurzburg. It was nominated for an Academy Award for Documentary Short Subject, but its positive portrayal of facilitated communication was criticised by autism researchers. Gina Green of San Diego State University stated that making a film without "even a hint, much less a disclosure" of the evidence against facilitated communication "is appalling". Biklen also produced the film "My Classic Life as an Artist: A Portrait of Larry Bissonnette" at Syracuse University.
Biklen has worked at Syracuse University since 1969 and founded the university's Facilitated Communication Institute in 1992. Following Burton Blatt as Dean, Biklen has been university leadership with the Center on Human Policy since its inception. In August 2005, Biklen became Dean of the School of Education. The appointment was criticised by the Commission for Scientific Medicine and Mental Health and by some members of the special education research community.
Biklen was also a founding member of the International Association of Persons with Severe Handicaps, which has organized special educators across the United States.


The Song of Ceylon

The Song of Ceylon is a 1934 British documentary film directed by Basil Wright and produced by John Grierson for the Ceylon Tea Propaganda Board.
The film was shot on location in Ceylon (Sri Lanka) at the start of 1934 and completed at the GPO film studios in Blackheath, London.
Plot summary.
Ambitious documentary chronicling the cultural life and religious customs of the Sinhalese and the effects of advanced industrialism on such customs.
The first part of the film depicts the religious life of the Sinhalese, interlinking the Buddhist rituals with the natural beauty of Ceylon. Opening with a series of pans over palm leaves, we then gradually see people journey to Adam's Peak, a center of Buddhist pilgrimage for over two hundred years. This is continually inter-cut with images of surrounding natural beauty and a series of pans of a Buddhist statue.
Part two focuses on the working life of the Sinhalese, again continually stressing their intimate connection to the surrounding environment. We see people engaging in pottery, woodcarving and the building of houses, whilst children play.
The third part of the film introduces the arrival of modern communications systems into the fabric of this 'natural' lifestyle, heralded by experimental sounds and shots of industrial working practices.
Finally, in the last part of the film, we return to the religious life of the Sinhalese, where people dress extravagantly to perform a ritual dance. The film ends as it began, panning over palm trees.
Critical response.
Writing for "The Spectator" in 1935, Graham Greene described the film as "an example to all directors of perfect construction and the perfect application of montage", and noted that it "moves with the air of absolute certainty in its object and assurance in its method".


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Allen Adler

Allen Adler (December 25, 1916 – January 30, 1964) was an American writer, also involved in theater in various ways. With Irving Block he wrote the story for the screenplay for "Forbidden Planet", based on Shakespeare's "The Tempest", but he was a victim of the Second Red Scare and was blacklisted from the film industry.
Biography.
Adler was the son of Abe Adler (a stage manager) who, in turn, was the son of Yiddish theater star Jacob Adler by his first wife Sonya ("Sophia") Adler. Per the bio on back jacket of Adler's novel "Mach 1", "He majored in English at New York University, wrote publicity for Robert Ripley of 'Believe It Or Not,', owned a New York theatre at twenty-one, presented touring opera companies, served in the air force in World War II in the Fifth Air Force, Far Eastern Air Force and Thirteenth Bomber Command. He produced a revival of "Front Page", has written both original stories and screenplays for the motion pictures."
In addition to "Forbidden Planet", Adler has a story credit for the film "The Giant Behemoth" (1959).
"The New York Times" of February 1, 1964, includes Adler's obituary, giving the date of his death as January 30, 1964. It says he was born in New York, the son of Adolf Adler, Yiddish theater manager and owner. He was survived by his widow, the former Mary MacNamara, and two daughters, Pamela and Allison Jo.


Paul Ellis

Brian Paul Ellis is a New Zealand record producer, manager, and radio host. He is most known to audiences for being the former judge of "New Zealand Idol" and a former judge of the reality series "New Zealand's Got Talent".
Ellis was appointed a Member of the New Zealand Order of Merit in the 2011 Queen's Birthday Honours, for services to the music industry.
In 2016, he was presented with the Fullers Entertainment Award from the Variety Artists Club of New Zealand for his services to the entertainment industry.
Ellis sits on the boards of The Starship Foundation and Digital Media Trust.


Acetate disc

An acetate disc (also known as a "lacquer", "test acetate", "dubplate", or "transcription disc") is a type of gramophone record generally used from the 1930s to the late 1950s for recording and broadcast purposes and still in limited use today.
Acetate discs are used for the production of records. Unlike ordinary vinyl records, which are quickly formed from lumps of plastic by a mass-production molding process, an acetate disc is created by using a recording lathe to cut an audio-signal-modulated groove into the surface of a lacquer-coated blank disc, a real-time operation requiring expensive, delicate equipment and expert skill for good results. The disc is then coated in metal, which is then peeled off to form a negative that will later be electroplated and peeled to create a mother (positive copy) which is then again electroplated and peeled to create negatives called stampers, which are then used as molds in a record press.
In addition to their use in the creation of masters, they were widely used for many purposes before magnetic tape recorders became common, and in the modern era they are used by dance music DJs. They were used in radio broadcasting to archive live broadcasts, pre-record local programming, delay network feeds for broadcast at a later time, and provide programming "from home" on the Armed Forces Radio Network. They were used extensively in Jamaica by sound system operators in the late 1940s and 1950s. Acetates were often used as "demos" of new recordings by artists and record labels. Some acetates are highly prized for their rarity, especially when they contain unpublished material.
Physical characteristics.
Despite their name, professional grade "acetate" discs do not contain any acetate. They consist of an aluminum disc with a coating of nitrocellulose lacquer. Glass was often used for the substrate during World War II, when aluminium was in short supply. The production process results in a disc that is different in several ways from the vinyl records sold to customers at retail. Most noticeably, vinyl records are comparatively lightweight and flexible, while acetates are usually rigid and considerably heavier because of their metal cores.
Acetates commonly come in two sizes: discs for singles and discs for albums. The record's sleeve is typically nothing more than a generic cover from the manufacturing company and the disc's label is similarly plain, containing only basic information about the content (title, artist, playing time, and so on), which is usually typed but may be hand-written.
Although once produced in a wide range of sizes (from less than to more than in diameter) and sometimes with glass core discs, the examples most commonly encountered today are in diameter and consist of an aluminium core disc coated with black nitrocellulose lacquer, commonly but incorrectly called "acetate". Instantaneous disc history authority Michael Biel attributes the longstanding "acetate" misnomer to some early lacquer disc labels that carried the warning, "Use only acetate needles", meaning the same high grade of individually inspected steel needles required to safely play the easily needle-damaged "pressed" flexible acetate transcription discs that were sometimes used in US broadcasting in the 1930s.
Blank discs were traditionally produced in several different grades, with the best and costliest grade featuring the sturdiest core, the thickest coating and the most perfectly flawless mirror-like surfaces. These top-quality blanks were intended for cutting the master discs that, once silver-coated, would be electrodeposited with nickel in order to electroform parts used in making stampers (negative profile metal moulds) for pressing ordinary records. Lower-quality blanks were considered adequate for non-critical uses such as tests and demo discs. Lower-grade blanks were formerly made for home use by amateurs and may be very thin and flexible, may have a cardboard rather than a metal or glass base, and may have noticeably dull or slightly orange-peel-textured surfaces.
In addition to the usual central "spindle hole", there is traditionally at least one "drive hole" in the label area, meant to be engaged by a special pin that prevents the disc from slipping on the turntable during the recording process if the lathe does not have a vacuum turntable. Drive holes are often hidden by labels applied after the recording was cut, but they can usually be detected by careful inspection of the label or by holding the disc up to a light bright enough to penetrate the labels. Drive holes are no longer standard on lacquer masters, only on "dubs", because the additional holes can interfere with the electroforming process and professional mastering lathes use vacuum turntables that hold the workpiece (lacquer disc) in place with suction. One pump usually provides suction for both the turntable and the chip tube that pulls away the fine string of nitrocellulose lacquer removed by the groove-cutting stylus.
Acetate discs are made for special purposes, almost never for sale to the general public. They can be played on any normal record player but will suffer from wear more quickly than vinyl, since the lacquer does not have the same properties as that of vinyl. Some acetates are highly prized for their rarity, especially when they contain unpublished material.
Production.
Acetates are usually made by dubbing from a master recording in another medium, such as magnetic tape. In the vinyl record manufacturing process, an acetate master disc is cut and electroforming is used to make negative metal molds from it; each mold, known as a stamper, can be used to press thousands of vinyl copies of the master. Within the vinyl record industry, acetates are also used for evaluating the quality of the tape-to-disc transfer. They were once a favored medium for comparing different takes or mixes of a recording, and if pressed vinyl copies of an impending new release were not yet available, acetates were used for getting preview copies into the hands of important radio disc jockeys.
Acetates were produced in very small quantities using elementary cutting machines. The majority of discs found on the market were not labelled or marked, as distributing studios would only at most have their name and address written on the disc. It was generally up to the recipients to scribble the song title or name of the artist onto the disc by hand.
On February 6, 2020, news broke of a fire at the Apollo Masters manufacturing plant in Banning, California. The plant produces Acetate (Lacquer) discs used in vinyl production with the fire completely destroying the manufacturing facility. The manufacturing facility is one of only two in the world, the other being MDC based in Japan. This led to industry experts fearing that the vinyl production supply chain would be put under stress with heavy demand and only one factory worldwide.
Uses.
Acetates have not always been used solely as a means of evaluating a tape-to-disc transfer or cutting the final master disc. They were used for many purposes before magnetic tape recorders became common, and in the modern era they are used by dance music DJs. They were used extensively in Jamaica by sound system operators in the late 1940s and 1950s. Acetates were often used as "demos" of new recordings by artists and record labels.
Disc mastering.
In preparation for a record pressing, acetates are used for quality control prior to the production of the stampers, from which retail copies of the record will be pressed. The purpose of the test acetate(s) (called, 'reference disks') in the mastering process is to allow the artist, producer, engineer, and other interested parties to check the quality of the tape-to-disc recording process and make any necessary changes to ensure that the audio fidelity of the master disc will be as close as possible to that of the original master tape. The actual stamper sets can be made either from oversized lacquers or from DMM blanks (see Direct Metal Mastering).
Direct recording.
Before the introduction of magnetic tape for mastering, disc recording was done "live" (see direct to disc recording), although sometimes intermediate disc-to-disc editing procedures were involved. Before acetate discs were adopted for the purpose, the master recording was cut into a disc of wax-like material that was too soft to be played non-destructively and had to be electroplated to produce a metal stamper, which was in turn used to make playable pressings. Acetate blanks allowed high-quality playable records to be produced "instantaneously".
Acetates were used in radio broadcasting to archive live broadcasts, pre-record local programming, delay network feeds for broadcast at a later time, and provide programming "from home" on the Armed Forces Radio Network. (In many cases, the AFRN disc is the only form in which a classic radio show has survived.) discs recorded at  rpm were used for these one-off "electrical transcriptions" beginning in the mid-1930s.
Disc recorders designed for amateur home use began appearing on the market around 1940, but their high prices limited sales, and then World War II brought their production to a halt. After the war, the popularity of such recorders greatly increased. It was not unusual for a carnival, circus, amusement park, or transit hub to offer disc recording in a booth for a modest fee. Countless discs were cut at parties and family gatherings, both for immediate amusement value and to preserve audio "snapshots" of these events and of the voices of relatives and friends. Schoolchildren and adults alike used them to practice speeches, amateur musical efforts were immortalized, and snippets of radio broadcasts were captured, all limited by the three- or four-minute maximum playing time of the 78 rpm large-groove format which was still standard for all home-use records. The home recorders typically had two tone arms, one for recording and the other for playback, and a red light to indicate recording was taking place. One problem with the process was the "string" of aluminum that followed the recording tone arm as the groove was cut. This "string" could interfere with the recording process and required manual intervention to remove.
This relatively bulky equipment, and the bulky discs, were hauled to remote locations such as Yugoslavia (see Milman Parry) or the Mississippi Delta (see Archive of American Folk Song) by ethnographers, linguists, and musical researchers. Substantial collections of these recordings are available to researchers at academic and national libraries, as well as museums.
During the very early tape era, around 1950, acetate discs and portable disc recorders competed with magnetic tape as a location-recording medium, both for broadcast and semi-pro use, but tape's several advantages quickly won the contest. Recording services hired to record weddings and other private events routinely captured them on tape, but because most homes of the 1950s and early 1960s were not equipped to play tapes, while nearly everyone had a record player, typically the recording was dubbed to disc and supplied to the client in that form and the original tape was recycled. Acetate discs are inherently less durable than some types of magnetic tape, and have the disadvantage of not being physically editable; unlike tape, acetates cannot be cut and spliced.
Black and dance music.
In the dance music world, DJs cut new or otherwise special tracks on acetates, in order to test crowd response and find potential hits. This practice started as early as in the 1960s in Jamaica, between soundsystems, as a way of competing and drawing bigger crowds. These discs are known as dubplates. Dubplates were used by reggae soundsystems worldwide, and later adopted by producers of various dance music genres, most notably drum and bass and dubstep. Trading dubplates between different DJs is an important part of DJ culture. Actual acetate dubplates are declining in popularity, and being increasingly replaced by CDs and vinyl emulation software for reasons of weight, durability and overall cost.
Value.
Due to their rarity, some acetates can command high prices at auction. Brian Epstein's collection of Beatles acetates fetched between $1,000 and $10,000 per disc. An acetate from The Velvet Underground, containing music that would later appear on their first album "The Velvet Underground & Nico", sold on eBay in 2006 for $25,200. An acetate of Elvis Presley's "That's All Right" sold for $82,393.60 in 2013. The only known copy of Presley's first recording—a 78 rpm acetate from 1953 featuring "My Happiness" backed with "That's When Your Heartaches Begin"—sold for $300,000 at a Graceland auction.


Madeline Lee (actress)

Madeline Lee Gilford (born Madeline Lederman; May 30, 1923 – April 15, 2008) was an American film and stage actress and social activist, who later enjoyed a career as a theatrical producer. Gilford was married, secondly, to actor Jack Gilford from 1949 until his death in 1990.
Early career.
Gilford was born in the New York City borough of the Bronx on May 30, 1923 to Polish Jewish immigrant parents. She began working as a child actress when she was just three years old. Her elder sister, Frances Lederman (September 28, 1910 — February 13, 2010), was an actress, known professionally as Fran Lee.
Madeline Lee reportedly appeared in the early "Our Gang" episode reels, which were shot in Brooklyn in the 1920s. Copies of the original cast list are hard to verify as many records have been lost. She later worked as an actress on radio, appearing as a regular on "The Henry Morgan Show" in the 1946-47 season, and stage, performing in the play, "Embezzled Heaven", with Ethel Barrymore in 1944.
A documentary is in production in Los Angeles entitled, "Calling All Women" about her life as an activist and her work as a producer and organizer of events for Civil Liberties causes such as SNCC and anti-war protest movements. The film was directed by her grandson, Max Smerling, and features interviews with Richard Dreyfuss, Bob Balaban, Lily Tomlin, Norman Lear, James Cromwell, Martin Sheen, Valerie Harper, and Carl Reiner.
Social activism.
Gilford began her social activism early in life. She organized the National Student Union at Walton High School in the Bronx, for which she was expelled from the school. Gilford met her future husband, Jack Gilford, at a political meeting for left wing causes in 1947. The couple were married in 1949 and remained together for forty years until Jack's death in 1990. (Both husband and wife had left their original spouses for each other during the late 1940s.)
McCarthy Era.
Both Madeline and Jack were subpoenaed and blacklisted during the McCarthy Era for much of the 1950s. Both were specifically named by choreographer Jerome Robbins during his testimony before the House Un-American Activities Committee. She was subpoenaed to testify before the House Un-American Activities Committee in 1953.
A 1953 article by "The New York Times" reported that she cited the First Amendment, Fourth Amendment, Fifth Amendment and Eighth Amendments to the United States Constitution to resist Congressional questioning. At the same hearing, she was questioned about a 1942 May Day Parade in which she had participated.
According to "The New York Times", she purportedly retorted to the HUAC committee, "Look, I'm a comedian, not Joan of Arc. The words 'recant', 'confess', 'you're a heretic' are not exactly my dish", although such a response would have violated her right to claim the Fifth Amendment.
Jack Gilford also testified at the same hearing as his wife. Both actors had trouble finding work in the entertainment industry during much of the rest of the 1950s and McCarthy Era due to the Hollywood blacklist. Lee found some work, often offscreen, during this time. In a 2003 interview with "The Forward", she noted that, "There was no Broadway blacklist." The couple borrowed money from friends to make ends meet.
The couple made their professional comeback during the post-McCarthy Era of the early 1960s. Jack Gilford made his comeback in the 1962 production of "A Funny Thing Happened on the Way to the Forum". The production costarred Zero Mostel, a close friend of the couple, but was choreographed by Jerome Robbins, who had testified against the Gilfords in 1953. Several years later, Lee encountered Jerome Robbins at a New Year's Eve party. According to "A Journal of the Plague Years", a 1973 book by Stefan Kanfer, Madeline reportedly told Robbins with a toast that "1953 can kiss my ass".
Later career.
Madeline Lee Gilford continued her role as a social activist following the McCarthy Era. She took a leading role in demonstrations during the Civil Rights Movement of the 1960s. Gilford stood very close to main platform for the 1963 "I Have A Dream" speech by Martin Luther King Jr. at the Lincoln Memorial. Many years later she was arrested for civil disobedience in 1999 while protesting the police shooting of Amadou Diallo in New York City.
Gilford co-authored a memoir in 1978 with Kate Mostel, the wife of Zero Mostel, entitled "170 Years in Show Business". The book told the story of the professional and personal lives of the two couples, including their encounters with other showbiz celebrities ranging from Dorothy Parker to Lotte Lenya.
During the 1980s, Gilford became a Broadway theater producer and casting director. She co-produced the 1982 play, "The World of Sholom Aleichim", which starred her husband, as well as the unsuccessful Broadway musical "Rags" in 1986.
She continued to act until shortly before her death. Her most recent television credits included "Law & Order", while her film credits included "The Birdcage", "The Savages", ' and "That Old Feeling". In one of her last appearances on screen, Gilford appeared in the 2008 film '.
Death.
Madeline Lee died on April 15, 2008, in her apartment on Bank Street in Greenwich Village, at the age of 84 from undisclosed causes. She was survived by her daughter, Lisa, two sons, Joe and Sam, and three grandchildren. Her funeral was held on April 17, 2008, at the Riverside Memorial Chapel on Manhattan's Upper West Side.


Malik Sanchez

ReMalik Sanchez (also known online as Smooth Sanchez) (born 2001) is an American Streamer, YouTuber, and self-identified "incel" who in April 2021 was arrested on one count of conveying false and misleading information and hoaxes, after he allegedly made a hoax threat to detonate a bomb at a restaurant in the Flatiron District of Manhattan in February 2021.
Streaming career.
In a Justice Department press release Sanchez was said to be a self-identified incel whose videos included him harassing, threatening, and at one time harming individuals who he encountered in Manhattan. In one stream he also stated that he supported Eliot Roger and called for Roger's victims to " “deserved to be run over and hit by a truck."
In June 2020 Sanchez created outrage in American Conservative circles after he had women appear on their knees in a show of solidarity for George Floyd and asked them to apologize for their White privilege and for being complicit for Human Rights Abuses against blacks in the United States. During that livestream Sanchez falsely identified himself as a representative of Black Lives Matter. Conservatives viewers called the stream "“racist against whites” and a called Sanchez “bully.” With Tucker Carlson calling the stream "an example of the “mob seeking the total humiliation of its enemies.”" Sanchez later said he did the stream to troll people.
In October 2020 Sanchez was arrested and charged with reckless endangerment and criminal trespass after he scaled the Queensboro Bridge for a livestream. Sanchez was also charged with illegal possession of pepper spray after police linked him to an attack where he allegedly pepper-sprayed a 40-year-old woman in Chelsea, Manhattan.
In March 2021 Sanchez was arrested after he posted a video where he approached women in an outdoor seating area, where he sated his support for Incels and Elliot Rodger, while also making hand gestures mimicking pointing a gun. After multiple people told him to stop, Sanchez pepper sprayed on one of them.
2021 Arrest.
In April 2021 Sanchez was arrested on one count of conveying false and misleading information and hoaxes, after he allegedly made a hoax threat to detonate a bomb at a restaurant in the Flatiron District of Manhattan in February 2021. If convicted Sanchez faces up to five years in Prison.


The Carefree Gardener

The Carefree Gardener is a television series about gardening and landscaping.
The show debuted September 29, 2006 on KPNX-TV, the NBC affiliate in Phoenix, Arizona, as a one-hour series and was changed to a half-hour series for its national distribution that began May 1, 2007 on the America One Network.
The series is hosted by Craig Allison has since been syndicated to ION Life and many smaller networks and affiliate stations.
The scope of the show includes all aspects of landscape and gardening, including: design, construction methods, growing plants, and teaching others how to do it themselves.
The series is produced by JimmyKristie Productions LLC.


Vertical cut recording

The vertical cut recording process is an early method of audio recording by which a stylus cuts a vertical groove into a phonograph record. This is in contrast to the lateral recording system which uses a stylus that cuts side-to-side across a record. The vertical recording process, also known as the hill and dale process, was used to record phonograph cylinder records as well as Edison Disc Records, Pathé disc records, and disc records made by numerous smaller companies. Vertical cut recording was also used as a means of copyright protection by the early Muzak 16-inch background music discs.
In this process the stylus makes a vertical cut, its depth determined in accordance with the current in the recording coil. The grooves of vertically cut records have a constant separation and varying depth, as opposed to grooves of laterally cut records, which have a varying distance of separation and constant depth.
Examining a vertically-cut groove along its length reveals a continuous wavy line as the needle cuts at different depths according to the tone and the loudness of the audio being recorded. These grooves show a transition from high to low peak as a smooth curve, giving the characteristic rounded 'hill and dale' effect to the groove, similar to the appearance of many geographic areas.
Recording is by mechanical means and the vibrations from acoustic energy, transferred to a cutting needle, make the needle cut a deeper or shallower groove. It is necessary to set the parameters of the cutting depth accurately: too shallow a groove on silent sections and the playback device, also a needle, will slip out of place; too deep a groove risks cutting through the thin layer of recording medium and/or creating excessive wear when the recording is played back. Due to mechanical noise generated by the recording system, the needle is never totally still; total silence would produce a flat even depth groove, so the hill and dale effect exists over all the audio recording section.


Ben Schechter

Ben Schechter (born August 26, 1980) is an American artist and filmmaker best known as a partner in Directors Collective Weird Days.
Career.
Ben Schechter established Weird Days with Alex Goldberg and Drew Blatman in 2007. They gained notoriety for their work with Riff Raff, Santigold, Das Racist, Tanlines. and Real Estate. Schechter has directed commercials for MySpace, Nike, Converse, and Levi's.
Make It Rain.
Schechter is the co-creator of "Make It Rain: For the Love of Money." The app was #1 in the iTunes store and has over 50 million downloads.
Ben's Books.
Schechter runs a small independent book store in Williamsburg, Brooklyn.


2 Hours Doing Nothing

"2 Hours Doing Nothing" () is a two-hour video created by YouTuber Muhammad Didit, published on his YouTube channel Sobat Miskin Official (Official Broke Gang) on 10 July 2020 at 11:21:44 UTC. The video features Didit staring at the camera in his bedroom for two hours. It was meant to be a 10-minute video, it unintentionally became longer. Surpassed four million views, a mobile game of the same name was published later.
Summary and production.
The 2-hour-20-minute-52-second video features 21-year-old Madurese YouTuber Muhammad Didit Delon in his bedroom sitting on the floor staring at nothing. A viewer counted Didit blinking 362 times. Apart from the twelve seconds starting at 2:20:39, Didit remains tense throughout"." The video was shot between 11 pm and 1 am local time, with preparation beginning 30 minutes earlier. Didit originally planned the video to be only 10 minutes long. Didit stated that he feared his parents would call him out of his room while the video was being recorded. He stated that the video was a sarcastic commentary, responding to Indonesian netizens continually ranting about the lack of "educational" content on the Internet. He stated that the video "depends on you the viewers to filter; that is my only advice to all of you, and I hope that you will be entertained and benefited from this video."
Reception.
The video, published on YouTube, went viral, with Times Now reporting 1.7 million views on the day of its release, India.com reporting 2 million views as of 3 August, Beebom reporting 2.5 million views as of 9 August, and Tribun News reporting 3 million views as of one month since release. As of December 2020, the video has received over 4.4 million views with 139,000 likes.
In addition to several memes using the video's clips seen on Instagram and Twitter, the video hit trending on 9GAG. Didit stated that he did not expect such attention, that the video was only meant for his subscribers. Prior Didit's primary focus were the food genre.
The comment section itself attracted media attention. Some said Didit should register the video for the Cannes Film Festival, others imagined Didit forgetting to press the "Record" button and ended up wasting his time. Many challenged Didit to make a similar video but with longer duration, making videos like "2 Hours Saying Alhamdulillah", "2 Hours Waiting Duck to Lay Egg", "1 Hour Begging Subscribers", and "2 Hours Holding Breath".
"Vice" considered it to be a trend in Indonesia, but found similar international videos such as "Doing Nothing For 8 Hours Straight", as well as "Sitting and Smiling". The video was regarded as "one of the best things on the internet" by Ilyas Sholihyn of AsiaOne, "and [people worldwide] are surprised that a video of a random guy doing nothing for two hours is interesting enough to get millions of hits." Online newspaper "World of Buzz" compared Didit to comedian Russell Peters. UNILAD wrote, "Growing up, [...] parents all over the world say the same thing: 'You can't just sit about all day doing nothing.' [...] However, one man (Didit) has bucked the adage with his latest video." The "Hindustan Times" called him "inspirational". Former Jakarta Vice Governor Sandiaga Uno praised the video for being "cool and original", as well as accurately capturing the boredom of staying home during the COVID-19 pandemic. In an interview with TV network, he opined that the video is "based on authenticity", and that "content is king, [and] timing is queen. The timing was perfect."
Video game adaptation.
A mobile game of the same name was launched on Google Play by developer Hepitier. The main menu is a white screen with a text reading "Touch screen to begin," and the game displays a bald man against a light gray background doing what Didit did, with a stopwatch below. As it hits 2:00:01, an end card reads "Congratulations! You've successfully done nothing for 2 hours." As of August 2020, it has been downloaded over 10,000 times.


Business Wire

Business Wire is an American company that disseminates full-text press releases from thousands of companies and organizations worldwide to news media, financial markets, disclosure systems, investors, information web sites, databases, bloggers, social networks and other audiences. It is a subsidiary of Berkshire Hathaway.
History.
Business Wire was founded in 1961 by Lorry I. Lokey. It started by sending releases to 16 media outlets in California. Business Wire launched its website in May 1995. In 2000, ahead of its main competitor PR Newswire, Business Wire ended the practice of distributing news to financial outlets 15 minutes before anyone else, to provide immediate, equal access to company information as noted by the SEC's fair disclosure regulation (Reg FD).
Business Wire's first wholly owned European operation launched in 2001, with the opening of an office in London. On June 1, 2005, Business Wire entered the German Ad-Hoc market with a disclosure network for companies with primary or secondary listings on the Deutsche Boerse. The service was established in compliance with BaFin, Germany's national securities regulator. On September 15, 2005, Business Wire established Regulatory Disclosure networks in France, Sweden, Switzerland and Luxembourg. The move came in anticipation of the anticipated implementation of the EU's Transparency Obligations Directive (TOD). On January 1, 2007, Autorité des marchés financiers, the French Financial Markets Regulator, approved Business Wire to operate as a Regulatory Disclosure Service in France.
On January 10, 2005, Business Wire established an Asian hub with the opening of its Tokyo, Japan bureau, and later that year added Japanese, making the site available in seven languages. On January 17, 2006, Berkshire Hathaway announced that it was purchasing Business Wire for an undisclosed amount. This acquisition was completed on March 1, 2006.
In 2008, Business Wire partnered with ImpreMedia to launch LatinoWire, a news distribution service that distributes brand content to Hispanic websites, media outlets, journalists and bloggers. In 2011, Business Wire received a patent for the technological process of optimizing and distributing press releases to maximize their ability to be found and tracked in leading search engines. The originality of the patent was question by SEO expert Danny Sullivan.
On September 23, 2013, Business Wire announces exclusive distribution partnership with VentureBeat On November 3, 2013, Business Wire opened its office in Hong Kong.
In January 2014, Business Wire launched a new news and content distribution enhancement service.
In April 2017, its Chief Executive Officer and President Cathy Baron Tamraz retired and was replaced by long time CFO Geff Scott.


Rose Hobart

Rose Hobart (born Rose Kefer; May 1, 1906 – August 29, 2000) was an American actress and a Screen Actors Guild official.
Early years.
Born in New York City, Hobart was the daughter of a cellist in the New York Symphony Orchestra, Paul Kefer, and an opera singer, Marguerite Kefer. Her parents' divorce when she was 7 resulted in Hobart and her sister, Polly, going to France to live with their grandmother. When World War I began, they came back to the United States and went to boarding schools. By 1921, she was a student at Kingston High School in Kingston, New York.
Career.
When Hobart was 15, she debuted professionally in "Cappy Ricks", a Chautauqua production. She was accepted for the 18-week tour because she told officials that she was 18. At that same age, she was cast in Ferenc Molnár's "Liliom", which opened in Atlantic City, New Jersey. Hobart's Broadway stage debut was on September 17, 1923 at the Knickerbocker Theater, playing a young girl in "Lullaby". In 1925, she played Charmian in "Caesar and Cleopatra".
Hobart was an original member of Eva Le Gallienne's Civic Repertory Theatre. In 1928, she made her London debut, playing Nona Rolf in "The Comic Artist". During her career in theater, she toured with Noël Coward in "The Vortex" and was cast opposite Helen Hayes in "What Every Woman Knows".
Her performance as Grazia in "Death Takes a Holiday" won her a Hollywood contract. Hobart appeared in more than 40 motion pictures over a 20-year period. Her first film role was the part of Julie in the first talking picture version of "Liliom", made by Fox Film Corporation in 1930, starring Charles Farrell in the title role, and directed by Frank Borzage. Under contract to Universal, Hobart starred in "A Lady Surrenders" (1930), "East of Borneo" (1931), and "Scandal for Sale" (1932). On loan to other studios, she appeared in "Chances" (1931) and "Compromised" (1931). In 1931, she co-starred with Fredric March and Miriam Hopkins in Rouben Mamoulian's original film version of "Dr. Jekyll and Mr. Hyde" (1931). She played the role of Muriel, Jekyll's fiancée. In 1936, Surrealist artist Joseph Cornell, who bought a print of "East of Borneo" to screen at home, became smitten with the actress, and cut out nearly all the parts that did not include her. He also showed the film at silent film speed and projected it through a blue-tinted lens. He named the resulting work "Rose Hobart". Hobart often played the "other woman" in movies during the 1940s, with her last major film role in "Bride of Vengeance" (1949).
Politics.
The House Un-American Activities Committee investigated Hobart in 1949, effectively ending her career. She believed that she first came to the attention of anti-Communist activists because of her commitment to improving working conditions for actors in Hollywood. In 1986, she recalled that "On my first three pictures, they worked me 18 hours a day and then complained because I was losing so much weight that they had to put stuff in my evening dress . . . . When I did "East of Borneo" (1931), that schlocky horror [film that] I did, we shot all night long. They started at 6 o'clock at night and finished at 5 in the morning. For two solid weeks, I was working with alligators, jaguars and pythons out on the back lot. I thought, 'This is acting?' It was ridiculous. We were militant about the working conditions. We wanted an eight-hour day like everybody else."
Hobart also served on the board of the Screen Actors Guild and was an active participant in the Actors' Laboratory Theatre, a group which anti-Communists like Senator Joseph McCarthy claimed was subversive. In 1948, Hobart was subpoenaed to appear before the Tenney Committee on Un-American Activities. Although Hobart was not a member of the Communist Party, she refused to cooperate, instead reading a prepared statement that concluded, "In a democracy no one should be forced or intimidated into a declaration of his principles. If one does yield to such pressure, he gives away his birthright. I am just mulish enough not to budge when anyone uses force on me." In 1950, Hobart was also listed in the anti-Communist blacklisting publication, "Red Channels". Hobart never worked in film again, although she did work on stage, and, later as the blacklist eased, in the 1960s, she took on television roles, including a part on "Peyton Place".
Personal life.
Hobart was married three times. Her first marriage, to Benjamin L. Winter, ended in divorce in 1929. On October 9, 1932, she married William Mason Grosvenor, Jr., an executive in a chemical engineering firm. They were divorced on February 17, 1941. She had one child, son Judson Bosworth, from her third marriage to architect Barton H. Bosworth.
Later years.
In 1994, Hobart published her autobiography, "A Steady Digression to a Fixed Point".
Death.
On August 29, 2000, Hobart died at the Motion Picture and Television Country House and Hospital in Woodland Hills, California, aged 94, from natural causes. She was survived by her only child, son Judson Bosworth (b. 1949).


Youssef Boutros Ghali

Youssef Raouf Boutros-Ghali or YBG (; born 20 August 1952) is an Egyptian economist who served in the government of Egypt as Minister of Finance from 2004 to 2011. He was succeeded by Samir Radwan on 31 January 2011.
Education.
Youssef Boutros-Ghali earned a bachelor of arts degree in economics at Cairo University in 1974. He then earned a Doctor of Philosophy in economics from Massachusetts Institute of Technology in 1981. He was also a lecturer and research assistant during his stay at MIT.
Career.
Upon graduation, Boutros-Ghali joined the International Monetary Fund as an EP (Economist Program). He became Senior Economist. He worked in both area and functional departments: first in the Middle East Department (MED) and later in Policy and Development Review (PDR) on Asian, Latin American and Middle Eastern countries. He gained profound knowledge of the economic problems and policy challenges of countries as diverse as the Sudan, Ivory Coast, the Philippines, China, Brazil, the Dominican Republic, and Mexico. He also did background work on the Latin American debt crisis of the early 1980s.
After leaving the Fund in 1986, Boutros-Ghali was appointed as Economic Advisor to Egypt's Prime Minister and to the Governor of the Central Bank of Egypt (1986–1993), where he took a prominent role in negotiating the 1987 and 1991 stand-by arrangements with the Fund and the debt rescheduling agreements with the Paris Club. The reform programs initiated then ushered a turnaround in the Egyptian economy and laid the groundwork for economic reforms that are being pursued to this day. Thereafter, Boutros-Ghali was appointed Minister of State for the Council of Ministers and Minister for International Cooperation (1993–1996), where he continued to be active in overseeing program relationship between Egypt and the Fund. He was subsequently named Minister of State for Economic Affairs (1996–1997). Thereafter he assumed the position of Minister of Economy and Foreign Trade (1997–2001), and later Minister of Foreign Trade (2001–2004).
A firm advocate of trade liberalization, as Minister of Foreign Trade, Boutros-Ghali participated in the Seattle, Doha and Cancun ministerial meetings of the World Trade Organization (WTO), and played a prominent role in launching the Doha round. He was also instrumental in concluding the Euro-Mediterranean Partnership Agreement between Egypt and the European Union in 1998. In 1999 he led the negotiations with the COMESA (Common Market for Eastern and Southern Africa) a free trade agreement of some twenty east and southern African countries, into which Egypt was admitted that year. To this day this has provided the basis for an expanded Egyptian presence in the African continent. Early in the following decade and through the joint body created by the US–Egypt Trade and Investment Framework Agreement (TIFA), Boutros-Ghali was active in advancing the negotiations on the free trade agreement between Egypt and United States. He also headed the negotiations leading to the Qualified Industrial Zone (QIZ) agreement between Egypt, the United States, and Israel, established in 2004.
As Minister of Finance, Boutros-Ghali headed the Ministerial Economic Committee in charge of overseeing the design and implementation of Egypt's economic reform programs. He is credited with implementing a series of reforms that helped modernize and reinvigorate the Egyptian economy and deepen its global integration. Chief among these is a major income tax and trade reforms, coupled with deregulation and liberalization in key areas of economic activity. The tax reform program was hailed as one of the most successful reforms among developing countries, which earned Egypt the position of top reformer among developing countries in 2007 by the World Bank.
Boutros-Ghali received the Emerging Markets Award for Finance Minister of the Year for the Middle East Region twice (2005 and 2006).
Boutros-Ghali also received an Honorary Doctorate from Heriot-Watt University in 2008.
On 6 October 2008, Boutros-Ghali was elected chair of the IMF's policy-setting committee the IMFC. He beat India's Finance Minister Palaniappan Chidambaram to chair the 24-member International Monetary and Financial Committee (IMFC) the first chairman from an emerging market economy in the 65 year history of the committee ; Boutros-Ghali was well suited to assume the chairmanship of the IMFC. Having served both at the Fund and as a prominent government official, he was well aware of the concerns of the membership and of the reforms needed at the Fund. As IMFC Chairman, at the height of the international financial crisis of 2008, Boutros-Ghali helped create a consensus among national financial authorities for a coordinated approach, with active IMF participation, to address the fallout in international financial markets. Throughout Boutros-Ghali worked to promote consensus on the Fund’s most pressing reform agenda, particularly on governance reforms to enhance legitimacy and evenhandedness in surveillance, establishing a new and sustainable income model for the Fund, and adapting its instruments to better suit the evolving needs of the membership in a global economy.
In 2010 Boutros-Ghali enacted a far-reaching reform of the social security and pension systems in Egypt. He introduced modern concepts of pension systems notional accounting of accumulated benefits and enacted structural changes to account for the erosion of pension benefits and the burden of pension contributions on the national economy.
Boutros-Ghali resigned from his position as Minister of Finance on 29 January 2011. He declined President Mubarak's offer to join the next government headed by Ahmed Shafik.
Post-revolution exile.
On 31 January 2011, as part of Hosni Mubarak's responses to the 2011 Egyptian protests, the government of Prime Minister Ahmed Nazif resigned and Boutros-Ghali, declining to participate in the following government led by Prime Minister designate Ahmed Shafik, was replaced as Minister of Finance by Samir Radwan. Then, on 4 February 2011, the IMF reported that Boutros-Ghali had resigned the Chairmanship of the International Monetary and Financial Committee (IMFC).
On 11 February 2011, just prior to Mubarak's resignation, the VIP lounge at Cairo Airport opened to accommodate Boutros-Ghali and his wife before they flew to Lebanon while other ex-regime officials, including Mubarak himself, were targeted with travel bans, asset freezes, and even arrests. During the chaotic three years that followed Boutros-Ghali along with many other ministers were subjected to legal proceedings. All, including Boutros-Ghali have been rehabilitated under the Sisi administration. With Boutros-Ghali residing abroad, the final steps are taking somewhat longer in winding their way through the legal system. Boutros-Ghali and two of his three sons are now permanent residents of the United Kingdom.
Writings.
Boutros-Ghali published texts on exchange rate and monetary policy, external debt problems and debt relief issues, IMF programs, fiscal discipline and exchange rate market reforms.
Personal life.
Boutros-Ghali speaks fluent Arabic, English, French, Italian and Spanish. His uncle, Boutros Boutros-Ghali, was Secretary-General of the United Nations from 1992 to 1996. He and his wife have three sons, Naguib, Nader and Youssef. While in London, in October 2011 his wife, Michele, died from a thoracic aneurism. The death was unexpected and sudden and devastated the family.


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Shapira Scroll

The Shapira Scroll, also known as the Shapira Strips or Shapira Manuscript, was a set of leather strips inscribed in Paleo-Hebrew script. It was presented by Moses Wilhelm Shapira in 1883 as an ancient Bible-related artifact and almost immediately denounced by scholars as a forgery.
The scroll consisted of fifteen leather strips, which Shapira claimed had been found in Wadi Mujib (biblical Arnon) near the Dead Sea. The Hebrew text hinted at a different version of Deuteronomy, including the addition of a new line to the Ten Commandments: "You shall not hate your brother in your heart: I am God, your god." The text also lacks all laws except for the ten commandments, which it renders consistently in the first-person, from the standpoint of the deity. Scholars took little time to reject it as a fake, and the shame brought about by the accusation of forgery drove Shapira to suicide in 1884.
Shapira's widow had at least part of the scroll in 1884, which she sent to . The scroll reappeared a couple of years later in a Sotheby's auction, where it was sold for £10 5s to Bernard Quaritch, who later listed it for £25. Contemporary reports show Dr. Philip Brookes Mason displayed the "whole of" the scroll at a public lecture in Burton-on-Trent on March 8, 1889. The current whereabouts of the scroll, if it survives, are unknown.
Discovery of the scroll.
Shapira's account of the discovery of the scroll varied at times and the differences between them have been used as evidence of forgery. , the first person Shapira showed the scroll to in person, recalled:
Mr. Shapira did not wish to tell me the provenance of the manuscript. He only told me that it came from a tomb beyond the Jordan.
While in Germany, Shapira told Hermann Guthe that:At the end of July or the beginning of August a certain Selim of the tribe of Adachaje ... offered in the Shapira shop a blackish stripe of leather for sale. Shapira himself was not present and found the cheaply acquired leather in the store on his return. As Salim was unable to visit Jerusalem, he had asked his friend, the Sheik, Mahmud of Abu Dis near Jerusalem, to arrange a meeting with Salem which, finally, brought all the strips into Shapira's possession.Another is contained within a handwritten letter from Shapira to Professor Hermann Strack of Berlin on 9 May 1883:
In July 1878 I met several Bedouins in the house of the well-known Sheque Mahmud el Arakat, we came of course to speak of old inscriptions. One Bedouin . . . begins to tell a history to about [sic] the following effect. Several years ago some Arabs had occasion to flee from their enemies & hid themselves in caves high up in a rock facing the Moujib (the neues Arnon [sic]) they discovered there several bundles of very old rugs. Thinking they may [sic] contain gold they peeled away a good deal of Cotton or Linen & found only some black charms & threw them away; but one of them took them up & and [sic] since having the charms in his tent, he became a wealthy man having sheeps [sic] etc.
Shapira wrote a letter to Ginsburg in early August, informing him that:In July 1878, the Sheik Machmud Arakat, the well-known chief of the guides from Jerusalem to the Jordan, paid me the customary visit . . . [as] the Sheik hat Bedouins of the East in his house, he brought them all with him . . . I heard the next day . . . some men of his acquaintance had hidden themselves, in the time when Wali of Damascus was fighting the Arabs, in caves hewn high up in a rock . . . near the Modjib. They found there several bundles of old black linen. They peeled away the linen and . . . there were only some black inscribed strips of leather, which they threw away (or I believe he said threw into the fire, but I am not certain); but one of them picked them up . . . I asked the Sheik to employ him as a messenger to bring me some of the pieces that I might examine them, but the Sheik thought that that man would not do it, but he knew a man who was not superstitious at all . . . In about twelve days I got four or five columns . . . in eight days more he brought me about sixteen; in eleven or twelve days more four or five . . . I have not seen the man again. The Sheik died soon, and I lost every trace that would enable me to follow the object further.In an account to the Palestine Exploration Fund on July 20, 1883, Shapira said that:[H]e first heard of the fragments in the middle of July 1878. A Sheikh, with several Arabs of different tribes came to him at his place of business in Jerusalem on other matters. The Sheikh had nothing to do with antiquities. They spoke of some little black fragments of writing in the possession of an Arab. They had been found in the neighborhood of Arnon. One of the Arabs spoke of them as talismans, smelling of asphalte. The day following Shapira was invited to dinner by the Sheikh, and heard more about the fragments. About the year 1865, at a time of persecution, certain Arabs had hid themselves among the rocks. There, on the side of a rocky cavern, they found several bundles wrapped in linen. Peeling off the covering they found only black fragments, which they thew away. They were picked up by one of the Arabs, believing them to be talismans . . . Shapira promised the Sheikh a reward if he would bring to him an Arab he spoke of who would be able to get hold of the fragments. This happened on the day of the dinner. The Sheikh fell ill, and afterwards died. About ten or twelve days after the dinner, a man of the Ajayah tribe brought to him a small piece . . . a week later, he brought fourteen or fifteen columns . . . the next Sunday, fourteen or fifteen more . . . ten days after, on Wednesday, he brought three or four columns, very black. Shapira saw nothing more of him.Claude Reigner Conder received yet another version from Shapira, which attributed the scroll and the Moabite forgeries to the same location and claimed a mummy had been found with the scroll.
Presentation of the scroll.
In Germany.
On 24 September, 1878, Shapira sent copies to Konstantin Schlottmann, who had wrongly authenticated Shapira's Moabite forgeries in 1870. Schlottmann consulted with Franz Delitzsch and then denounced the scroll as a fabrication. Delitzch published separately in his journal "" in 1880, calling it a fake.
On 9 May 1883, Shapira wrote a ten-page letter to Hermann Strack, saying he'd trust Strack's judgement over his own with regard to the scroll's authenticity. Strack replied on 27 May, declaring "that it was not worth [Shapira]'s while to bring such an evident forgery to Europe." Also in May 1883, Shapira showed one piece of the manuscript to , then the German consul in Beirut, for a short time in poor light; he refused to authenticate it without longer study of all the fragments.
In June 1883, perhaps having revised the text, Shapira brought the scroll to Germany in an attempt to sell it to the Royal Library of Berlin. Karl Richard Lepsius, then the Library's keeper, convened a symposium of leading Bible scholars in Berlin (Lepsius himself, Eduard Sachau, Eberhard Schrader, August Dillmann, Adolf Erman, and Moritz Steinschneider), to evaluate the scroll on July 10; these unanimously declared it a fake after a 90-minute inspection. In a separate German analysis in the first week of July, published August 14, Hermann Guthe and Eduard Meyer concluded the scroll was a forgery; Theodor Nöldeke and Emil Friedrich Kautzsch were said to agree. Shapira also showed the scroll to Strack in person, whose view did not change. The Royal Library offered to buy it at a lower price, to enable German students to study the forger's technique; Shapira took it to London instead. The German scholars did not publicize their findings, and other experts' conclusions were reached independently.
In London.
On July 20, Shapira informed the secretary of the Palestine Exploration Fund that he had brought the manuscript to London, and on July 24 he showed the manuscript to the Fund's Walter Besant and Claude Reignier Conder. On July 26, he displayed the manuscript to a large number of British scholars at the Fund's offices, even tearing off a portion to demonstrate the parchment's interior; the manuscript was then taken to the British Museum for further inspection.
Shapira sought to sell the scroll to the British Museum for a million pounds, and allowed the Museum to exhibit two of the 15 strips. The Museum designated Christian David Ginsburg to evaluate the strips, and he published transcriptions, translations, and facsimiles over the following weeks. On August 4, 1883, Walter Flight of the British Museum reported that much of the leather looked ancient but the margin of one piece looked brand new; on August 17, Edward Augustus Bond, principal librarian of the British Museum, indicated that he too thought they were fake.
On August 13, Adolf Neubauer, who had earlier exposed Shapira's fake "coffin of Samson", identified the scroll as a forgery; on August 19, he published further arguments against its authenticity, as did Archibald Sayce on the same day. Neubauer's identification was later called the scroll's death knell.
The French Ministry of Public Instruction's Charles Simon Clermont-Ganneau, who had earlier revealed Shapira's Moabite forgeries, arrived in England on the 15th, already harboring "most serious doubts." He obtained a quick look at some fragments from Ginsburg, but was quickly banned by Shapira from further studying the scroll. However, Clermont-Ganneau closely examined the two strips on display at the public exhibition on August 18 and, on August 21, he declared them to be forgeries. Claude Reignier Conder also declared them fake on the 21st, and Ernest Renan, Albert Löwy, and Charles Henry Waller soon followed. By August 25, the Grantham Journal reported, "The official verdict on the authenticity of Mr. Shapira's manuscripts has not been given but the published evidence of experts who have examined them is unanimous against it."
On August 27, Christian David Ginsburg, who as the designated philological examiner of the British Museum had been given access to the entire scroll, published the same conclusion. Earlier that week, the British Museum had ceased to display Shapira's strips. Ginsburg also suggested the shape of the strips, their ruling, and the leather used matched Yemenite scrolls Shapira had sold in previous years. Clermont-Ganneau later made the same assessment. Schlottmann, Delitzch, Strack, and Steinschneider, amazed at the ongoing situation in England, each published their July findings for the British audience in September. Ginsburg and Clermont-Ganneau published their final reports that same month.
Aftermath and scroll's fate.
Ginsburg's conclusion drove Shapira to despair, and he fled London.
In spite of writing to Ginsburg that he would leave for Berlin, he fled London to Amsterdam instead, leaving the manuscript behind, and from Amsterdam he wrote a letter to Edward Augustus Bond, principal librarian of the British Museum, begging for reconsideration of the manuscript. In both letters, Shapira reaffirmed his belief in the scroll's authenticity. Six months later, on 9 March 1884, he shot himself at the Hotel Willemsbrug in Rotterdam.
Shapira's widow, Anna Magdalena Rosette, had at least part of the scroll in 1884, as evidenced by a note in the Ginsburg file left by Bond. Rosette sent "two small pieces" to Schlottmann for further study in 1884. It later appeared in an auction at Sotheby's in 1885 and it was purchased by Bernard Quaritch, a bookseller, for £10 5s. Two years later, Quaritch listed the scroll for sale for £25 and displayed it at the Anglo-Jewish Historical Exhibition in 1887.
In 1970 Professor Alan David Crown, on the basis of a misreading of a letter from Sir Charles Nicholson to Walter Scott wherein Nicholson claimed that "most" of the Shapira manuscripts had fallen into his hands, advanced the hypothesis that Nicholson had acquired the Shapira Scroll itself, with the scroll destroyed in a fire in Nicholson's London study in 1899, along with most of his collection. Apart from Nicholson's hyperbole - he is only known to have acquired six Torah scrolls compared to the 167 manuscripts acquired in 1884 by Adolph Sutro - Nicholson never wrote that he acquired the Shapira scroll itself. Crown's hypothesis was widely accepted as the best explanation of the scroll's fate.
In 2011 Australian researcher Matthew Hamilton identified the actual owner of the scroll, the English doctor and natural historian, Dr. Philip Brookes Mason. Contemporary reports show Dr. Philip Brookes Mason displayed the "whole of" the scroll at a public lecture in Burton-on-Trent on March 8, 1889. Further whereabouts of the scroll, if it survived, are unknown.
Features of the scroll.
Physical appearance.
Shapira's scroll was composed of fifteen vellum strips, some easy to read and others blackened to the point of near-illegibility. Each complete strip was about 3.5 inches by 7 inches, extremely narrow and consistent with the cut-off margin of a Torah scroll. Each complete strip had an average of ten lines of writing on one side only. They were folded, not rolled. Each complete strip was folded between one and three times, for a total of 40 folds. They were covered in dark glutinous matter and had a faint odor of funeral spices or asphalt, known in the nineteenth century for their use in Egyptian mummification but not later found on Dead Sea scrolls. Each segment had one rough edge and one smooth edge, consistent with a top or bottom margin recently cut off an older manuscript. Each segment had vertical creases marked with a hard point as a scribe would mark for columns, but the text of the Shapira scroll has no relation to these lines, weaving in and out of them randomly, suggesting to experts that a forger had taken the blank margin of a marked Torah scroll and written his text without noticing the faint column lines. Ginsburg and Clermont-Ganneau identified the material as identical to the rough parchment of the medieval Yemenite Torah scrolls in which Shapira had dealt in the preceding years. The outline of a frame could be seen, perhaps used to administer aging chemicals, and the edge of one segment looked brand new.
Script.
The scroll is written "scriptio continua" except in the Decalogue, a style never discovered in other Hebrew manuscripts but widely assumed by Shapira's contemporaries to have been the original form of the text. In the Decalogue, every word is followed by an interpunct except לא, "do not", and nota accusativi. The writing, by multiple hands, more closely resembles that of inscriptions like the Mesha Stele, already published by 1878, than it does the Paleo-Hebrew writing later found on parchment; even in the nineteenth century the similarity was thought suspect. André Lemaire authored the most recent paleographic analysis (1997):However, the letter shapes do not correspond exactly to any known ancient West Semitic script. It is neither Moabite (although most letters seem like imitations of Moabite writing in the Mesha Stele, which records the ninth-century B.C.E. Moabite king Mesha's victories over Israel...) nor "Canaanite" (West Semitic writing from about the 13th to the 11th century B.C.E.). It is neither the Hebrew script used during the First Temple period nor the archaizing paleo-Hebrew script found on coins of the First Jewish Revolt against Rome (66–70 C.E.) and the Second Jewish Revolt (132–135 C.E.) and in several of the Dead Sea Scrolls. In truth, after a simple look at the facsimile, an experienced paleographer can see it is a forgery.Ginsburg reported that some strips were duplicates in different hands, with very slight differences (noted "infra").
Spelling and wording.
The text uses Moabite spellings, made famous by the Mesha Stele in 1870 but never attested in any Israelite text or on parchment; some aberrant plene spellings, as of יום and סיחן, further suggested forgery. The text omits some consonantal yods as well, apparently in an erroneous attempt to replicate Moabite spellings. The scroll contains several apparent misspellings, ungrammatical phrases, and words from later Hebrew, which featured prominently in the negative assessments of its authenticity. The scroll often replaces Deuteronomic words with close synonyms, including ירא > פחד, שכב > בעל, קצפ > אנפ, לפנים > מעלם, and more; these synonyms are not always exact, resulting in incongruent grammar, and sometimes rely on later meanings unattested in Biblical Hebrew.
Modern scholarship.
Despite the near unanimous assessment of the 19th century scholars who had access to the manuscripts that they were a forgery -- an exception being Eduard Meyer who in correspondence to Georg Ebers expressed the view that the strips were genuine and noted that examination of the leather by Dr. Franz Adolf Hofmann found nothing suspicious -- there have always been researchers claiming to have reasons to believe that the Shapira scroll might have been a genuine ancient artifact after all.
Professor Menahem Mansoor, chairman of the Department of Hebrew and Semitic Studies at the University of Wisconsin, argued in 1956 that re-examination of the case would be justified. Mansoor's conclusion was immediately attacked by Moshe H. Goshen-Gottstein and by Oskar K. Rabinowicz. J. L. Teicher (1957), Shlomo Guil (2017), and Idan Dershowitz (2021) have argued the strips were genuine.


SlotMusic

slotMusic was a brand of microSD memory card developed by SanDisk preloaded with music in MP3 format. They were first available at Wal-Mart and Best Buy stores in October 2008. The current selection of songs comes from Universal Music Group, Sony BMG, Warner Music Group and EMI Music. As of mid-2011, SanDisk's website lists a total of 14 albums available in the SlotMusic format.
The audio files contain no digital rights management, and are encoded at minimum bitrates of 256 to 320 kbit/s.
A slotMusic albums may also include high-quality images and videos in multiple formats. The contents of each microSD card may be altered by the user, enabling them to add or remove files from the slotMusic card as desired. Another type of card, slotRadio, has been developed for 2009 and has radiolike controls. A slotRadio card has more restrictions on how it works, such as not being able to backtrack to a previous song.