title: Rudolph Valentino

text: Other studios began courting him. Joseph Schenck was interested in casting his wife, Norma Talmadge, opposite Valentino in a version of "Romeo and Juliet." June Mathis had moved to Goldwyn Pictures, where she was in charge of the "Ben-Hur" project, and interested in casting Valentino in the film. However, Famous Players exercised its option to extend his contract, preventing him from accepting any employment other than with the studio. By this point, Valentino was about $80,000 in debt. He filed an appeal, a portion of which was granted. Although he was still not allowed to work as an actor, he could accept other types of employment.


title: Rudolph Valentino

text: In late 1922, Valentino met George Ullman, who soon became his manager. Ullman had previously worked with Mineralava Beauty Clay Company, and convinced them that Valentino would be perfect as a spokesman with his legions of female fans.


title: Rudolph Valentino

text: The tour was a tremendous success, with Valentino and Rambova performing in 88 cities in the United States and Canada. In addition to the tour, Valentino also sponsored Mineralava beauty products and judged Mineralava-sponsored beauty contests. One beauty contest was filmed by a young David O. Selznick, who titled it "Rudolph Valentino and his 88 Beauties."


title: Rudolph Valentino

text: Valentino returned to the United States in reply to an offer from Ritz-Carlton Pictures (working through Famous Players), which included $7,500 a week, creative control, and filming in New York. Rambova negotiated a two-picture deal with Famous Players and four pictures for Ritz-Carlton. He accepted, turning down an offer to film an Italian production of "Quo Vadis" in Italy.


title: Rudolph Valentino

text: The first film under the new contract was "Monsieur Beaucaire," wherein Valentino played the lead, the Duke of Chartres. The film did poorly and American audiences found it "effeminate". The failure of the film, under Rambova's control, is often seen as proof of her controlling nature and later caused her to be barred from Valentino sets. Valentino made one final movie for Famous Players. In 1924, he starred in "A Sainted Devil," now one of his lost films. It had lavish costumes, but apparently a weak story. It opened to strong sales, but soon dropped off in attendance and ended up as another disappointment.


title: Rudolph Valentino

text: With his contract fulfilled, Valentino was released from Famous Players, but was still obligated to Ritz-Carlton for four films. His next film was a pet project titled "The Hooded Falcon." The production was beset with problems from the start, beginning with the script written by June Mathis. The Valentinos were dissatisfied with Mathis's version and requested that it be rewritten. Mathis took it as a great insult and did not speak to Valentino for almost two years. While Rambova worked designing costumes and rewriting the script for "Falcon," Valentino was persuaded to film "Cobra" with Nita Naldi. He agreed only on condition that it not be released until after "The Hooded Falcon" debuted.


title: Rudolph Valentino

text: After filming "Cobra," the cast of "The Hooded Falcon" sailed for France to be fitted for costumes. After three months, they returned to the United States, where Valentino's new beard, which he had grown for the film, caused a sensation. "I opened once a paper and I tell you what was in. It was Rudolph Valentino with a beard upon his chin. My heart stopped off from beating and I fainted dead away, and I never want to come to life until the judgement day," was soon printed in "Photoplay." The cast and crew left for Hollywood to begin preparations for the film, but much of the budget was taken up during preproduction. Due to the Valentinos' lavish spending on costumes and sets, Ritz-Carlton terminated the deal with the couple, effectively ending Valentino's contract with them.


title: Rudolph Valentino

text: During the filming of "Monsieur Beaucaire," both Charlie Chaplin and Douglas Fairbanks approached Valentino privately, due to his contract with Ritz-Carlton, about joining with United Artists. Valentino's contract with United Artists provided $10,000 a week for only three pictures a year, plus a percentage of his films. The contract excluded Rambova from production of his films and the film set. Valentino's acceptance of the terms caused a major rift in his marriage to Rambova. George Ullman, who had negotiated the contract with United Artists, offered Rambova $30,000 to finance a film of her own. It became her only film, titled "What Price Beauty?" and starred Myrna Loy.


title: Rudolph Valentino

text: Valentino chose his first UA project, "The Eagle." With the marriage under strain, Valentino began shooting and Rambova announced that she needed a "marital vacation". During the filming of "The Eagle," rumors of an affair with co-star Vilma Bánky were reported and ultimately denied by both Bánky and Valentino. The film opened to positive reviews, but a moderate box office.


title: Rudolph Valentino

text: For the film's release, Valentino travelled to London, staying there and in France, spending money with abandon while his divorce took place. Quite some time elapsed before he made another film, "The Son of the Sheik," despite his hatred of the sheik image. The film began shooting in February 1926, with Valentino given his choice of director, and pairing him again with Vilma Bánky. The film used the authentic costumes he bought abroad and allowed him to play a dual role. Valentino was ill during production, but he needed the money to pay his many debts. The film opened on July 9, 1926, to great fanfare. During the premiere, Valentino was reconciled with Mathis; the two had not spoken in almost two years.


title: Rudolph Valentino

text: Dating back to the de Saulles trial in New York, during which his masculinity had been questioned in print, Valentino had been very sensitive about his public perception. Women loved him and thought him the epitome of romance.


title: Rudolph Valentino

text: With the Fairbanks type being the epitome of manhood, Valentino was seen as a threat to the "All American" man. One man, asked in a street interview in 1922 what he thought of Valentino, replied, "Many other men desire to be another Douglas Fairbanks. But Valentino? I wonder ..."


title: Rudolph Valentino

text: Women in the same interview found Valentino "triumphantly seductive. Puts the love-making of the average husband or sweetheart into discard as tame, flat, and unimpassioned."


title: Rudolph Valentino

text: Men may have wanted to act like Fairbanks, but they copied Valentino's look. A man with perfectly greased-back hair was called a "Vaselino".


title: Rudolph Valentino

text: Some journalists were still calling his masculinity into question, going on at length about his pomaded hair, his dandyish clothing, his treatment of women, his views on women, and whether he was effeminate or not.


title: Rudolph Valentino

text: Valentino hated these stories and was known to carry clippings of the newspaper articles around with him and criticize them.


title: Rudolph Valentino

text: In July 1926, the "Chicago Tribune" reported that a vending machine dispensing pink talcum powder (face powder) had appeared in an upscale hotel's men's washroom. An editorial that followed used the story to protest the feminization of American men, and blamed the talcum powder on Valentino and his films. The piece infuriated Valentino and he challenged the writer to a boxing match, since dueling was illegal. Neither challenge was answered.


title: Rudolph Valentino

text: Shortly afterward, Valentino met with journalist H. L. Mencken for advice on how best to deal with the incident. Mencken advised Valentino to "let the dreadful farce roll along to exhaustion," but Valentino insisted the editorial was "infamous".


title: Rudolph Valentino

text: Mencken found Valentino to be likable and gentlemanly and wrote sympathetically of him in an article published in the "Baltimore Sun" a week after Valentino's death:


title: Rudolph Valentino

text: After Valentino challenged the "Tribune's" anonymous writer to a boxing match, the "New York Evening Journal" boxing writer, Frank O'Neill, volunteered to fight in his place. Valentino won the bout, which took place on the roof of New York's Ambassador Hotel.


title: Rudolph Valentino

text: Heavyweight champion Jack Dempsey, who trained Valentino and other Hollywood notables of the era in boxing, said of him: "He was the most virile and masculine of men. The women were like flies to a honeypot. He could never shake them off, anywhere he went. What a lovely, lucky guy.".


title: Rudolph Valentino

text: Valentino's sex symbol status and his untimely death were a biographical part in John Dos Passos's "The Big Money" in the U.S.A. trilogy. His title was the Adagio Dancer.


title: Rudolph Valentino

text: In 1923, Valentino published a book of poetry titled "Day Dreams". He later serialized events in various magazines. With "Liberty" magazine, he wrote a series entitled, "How You Can Keep Fit" in 1923. "My Life Story" was serialized in "Photoplay" during his dance tour. The March issue was one of the best-selling ever for the magazine. He followed that with "My Private Diary", serialized in "Movie Weekly" magazine. Most of the serials were later published as books after his death.


title: Rudolph Valentino

text: Valentino was fascinated with every part of movie-making. During production on a Mae Murray film, he spent time studying the director's plans. He craved authenticity and wished to shoot on location, finally forming his own production company, Rudolph Valentino Productions, in 1925. Valentino, George Ullman, and Beatrice Ullman were the incorporators.


title: Rudolph Valentino

text: On May 14, 1923, while in New York City, Valentino made his only two vocal recordings for Brunswick Records; "Kashmiri Song" ("The Sheik") and "El Relicario" ("Blood and Sand"). The recordings were not released until after Valentino's death by the Celebrity Recording Company; Brunswick did not release them because Valentino's English/Spanish pronunciation was subpar.


title: Rudolph Valentino

text: Valentino was one of the first in Hollywood to offer an award for artistic accomplishments in films; the Academy Awards later followed suit. In 1925, he gave out his only medal to John Barrymore for his performance in "Beau Brummel." The award, named the Rudolph Valentino Medal, required the agreement of Valentino, two judges, and the votes of 75 critics. Everyone other than Valentino himself was eligible.


title: Rudolph Valentino

text: Valentino once told gossip columnist Louella Parsons that: "The women I love don't love me. The others don't matter". He claims that despite his success as a sex symbol that in his personal love life he never achieved happiness.


title: Rudolph Valentino

text: In 1919—just before the rise of his career—Valentino impulsively married actress Jean Acker, who was involved with actresses Grace Darmond and Alla Nazimova. Acker became involved with Valentino in part to remove herself from the lesbian love triangle, quickly regretted the marriage, and locked Valentino out of their room on their wedding night. The couple separated soon after, and the marriage was never consummated. The couple remained legally married until 1921, when Acker sued Valentino for divorce, citing desertion. The divorce was granted, with Acker receiving alimony. She and Valentino eventually renewed their friendship, and remained friends until his death.


title: Rudolph Valentino

text: Valentino first met Winifred Shaughnessy, known by her stage name, Natacha Rambova—an American silent film costume and set designer, art director, and protégée of Nazimova—on the set of "Uncharted Seas" in 1921. The two worked together on the Nazimova production of "Camille," by which time they were romantically involved. They married on May 13, 1922, in Mexicali, Mexico, which resulted in Valentino's arrest for bigamy, since he had not been divorced for a full year, as required by California law at the time. Days passed and his studio at the time, Famous Players-Lasky, refused to post bail. Eventually, a few friends were able to post the cash bail. He was also investigated for a possible violation of the Mann Act.


title: Rudolph Valentino

text: Having to wait the year or face the possibility of being arrested again, Rambova and Valentino lived in separate apartments in New York City, each with their own roommates. On March 14, 1923, they legally remarried at the Lake County Court House in Crown Point, Indiana.


title: Rudolph Valentino

text: Many of Valentino's friends disliked Rambova and found her controlling. During his relationship with her, he lost many friends and business associates, including June Mathis. Towards the end of their marriage, Rambova was banned from his sets by contract. Valentino and Rambova divorced in 1925. The end of the marriage was bitter, with Valentino bequeathing Rambova one dollar in his will.


title: Rudolph Valentino

text: From the time he died in 1926 until the 1960s, Valentino's sexuality was not generally questioned in print. At least four books, including the notoriously libelous "Hollywood Babylon," suggested that he may have been gay despite his marriage to Rambova.


title: Rudolph Valentino

text: For some, the marriages to Acker and Rambova, as well as the relationship with Pola Negri, add to the suspicion that Valentino was gay and that these were "lavender marriages".


title: Rudolph Valentino

text: Such books gave rise to claims that Valentino had a relationship with Ramón Novarro, despite Novarro stating they barely knew each other. "Hollywood Babylon" recounts a story that Valentino had given Novarro an art deco dildo as a gift, which was found stuffed in his throat at the time of his murder. No such gift existed.


title: Rudolph Valentino

text: These books also gave rise to claims that he may have had relationships with both roommates Paul Ivano and Douglas Gerrad, as well as Norman Kerry, and openly gay French theatre director and poet Jacques Hébertot. However, Ivano maintained that it was untrue and both he and Valentino were heterosexual. Biographers Emily Leider and Allan Ellenberger generally agree that he was most likely straight.


title: Rudolph Valentino

text: There was further supposed evidence that Valentino was gay; documents in the estate of the late author Samuel Steward indicated that Valentino and Steward were sexual partners. However, evidence found in Steward's claim was subsequently found to be false, as Valentino was in New York on the date Steward claimed a sexual encounter occurred in Ohio.


title: Rudolph Valentino

text: Shortly before his death, Valentino was dating "Ziegfeld Follies" showgirl Marion Wilson Benda while he was also involved in a relationship with actress Pola Negri. Upon his death, Negri made a scene at his funeral, claiming they had been engaged, in spite of the fact that Valentino had never mentioned this engagement to anyone himself.


title: Rudolph Valentino

text: On August 15, 1926, Valentino collapsed at the Hotel Ambassador on Park Avenue in Manhattan. He was hospitalized at the New York Polyclinic Hospital. Following an examination, he was diagnosed with appendicitis and gastric ulcers, and surgery was performed immediately. (His condition would eventually be referred to as "Valentino's syndrome"—perforated ulcers mimicking appendicitis.) After surgery, Valentino developed peritonitis. On August 18, his doctors were optimistic about his prognosis. The media were told that unless Valentino's condition deteriorated, no updates would be given. However, his condition worsened on August 21. He was stricken with a severe relapse of pleuritis, which developed rapidly in his left lung due to his weakened condition. The doctors realized that Valentino was going to die, but as was common at the time, chose to withhold this information. Valentino reportedly believed that he would recover. During the early hours of Monday, August 23, Valentino was briefly conscious and chatted with his doctors about his future, but soon lapsed into a coma. He died a few hours later at the age of 31. Following Valentino's death, doctors who treated him later confirmed that the actor had contracted sepsis, an overwhelming infection.


title: Rudolph Valentino

text: An estimated 100,000 people lined the streets of Manhattan to pay their respects at his funeral, handled by the Frank Campbell Funeral Home. Suicides of despondent fans were reported. Windows were smashed as fans tried to get in and an all-day riot erupted on August 24. Over 100 mounted officers and NYPD's Police Reserve were used to restore order. A phalanx of officers lined the streets for the remainder of the viewing. Polish actress Pola Negri, claiming to be Valentino's fiancée, collapsed in hysterics while standing over the coffin, and Campbell hired four actors to impersonate a Fascist Blackshirt honor guard, purportedly sent by Benito Mussolini. Media reports that the body on display in the main salon was not Valentino but a decoy were continually denied by Campbell.


title: Rudolph Valentino

text: Valentino's funeral mass in Manhattan was held on Monday, August 30 at Saint Malachy's Roman Catholic Church, often called "The Actor's Chapel", as it is located on West 49th Street in the Broadway theater district, and has a long association with show-business figures.


title: Rudolph Valentino

text: After Valentino's remains were taken by train from New York to California, a second funeral was held on the West Coast, at the Catholic Church of the Good Shepherd in Beverly Hills. Valentino had no final burial arrangements and his friend June Mathis arranged a temporary solution when she offered a crypt that she had purchased for the husband whom she had since divorced. Coincidentally, she died the following year and was interred in the adjoining crypt that she had purchased for herself; Valentino was never moved to a new location and he remained in the crypt next to Mathis. The two are still interred side by side at Hollywood Forever Cemetery (originally Hollywood Memorial Park Cemetery) in Hollywood, California.


title: Rudolph Valentino

text: Valentino left his estate to his brother, sister, and Rambova's aunt Teresa Werner, who was left the share originally bequeathed to Rambova. His Beverly Hills mansion, Falcon Lair, was later owned by heiress Doris Duke. Duke died there in 1993. The home was later sold and underwent major renovations. The main building of the estate was razed in 2006, and the property was then put back on the market.


title: Rudolph Valentino

text: After Valentino's death, many of his films were reissued to help pay his estate expenses. Many were reissued well into the 1930s, long after the demise of silent film. Several books were written, including one by Rambova. A photo montage print showed Valentino arriving in Heaven and being greeted by Enrico Caruso.


title: Rudolph Valentino

text: Over the years, a "woman in black" carrying a red rose has come to mourn at Valentino's crypt, usually on the anniversary of his death. Several myths surround the woman, though it seems the first woman in black was actually a publicity stunt cooked up by press agent Russel Birdwell in 1928. A woman named Ditra Flame claimed to be the original "woman in black". Several copycats have followed over the years. Although originally a PR stunt, it has become a tradition. The current "woman in black" is motion picture historian Karie Bible. This myth of "woman in black" was also a source of inspiration for the song "Long Black Veil".


title: Rudolph Valentino

text: Valentino's hometown of Castellaneta, Italy, has created several services in his honor. The Museo Rodolfo Valentino was opened in his childhood home and a memorial designed by architect Nicola Cantore with a blue ceramic statue of Valentino by Luigi Gheno was unveiled in 1961.


title: Rudolph Valentino

text: The dedication of the memorial is the subject of a vignette in the documentary Mondo Cane. Fondazione Rodolfo Valentino was created to promote his life and his work. In 2009, a film school was also opened in his hometown, Centro Studi Cine Club Rodolfo Valentino Castellaneta. At the 1995 centennial of his birth, several events were held in his honor. From 1972 to 2006, an Italian acting award—The Rudolph Valentino Award—was handed out every year. Several actors from all over the world received this award, including Leonardo DiCaprio and Elizabeth Taylor.


title: Rudolph Valentino

text: In 1994, an opera by Dominick Argento (libretto by Charles Nolte) entitled "The Dream of Valentino" was premiered by the Washington National Opera in the District of Columbia . Reviews were not enthusiastic. The opera was revived by the Minnesota Opera in 2014, with similar reviews.


title: Rudolph Valentino

text: In Italy in 2006, a one-off film festival was planned to celebrate the opening of the Museo Rodolfo Valentino. In May 2010, the American Society held the Rudolph Valentino Film Festival in Los Angeles, California.


title: Rudolph Valentino

text: Valentino's syndrome, the type of medically emergent abdominal pain that caused his death, is named after him. Hollywood High School's mascot, the Sheiks, is a tribute to a Valentino character.


title: Rudolph Valentino

text: The life of Rudolph Valentino has been filmed several times for television and the big screen. One of these biopics is Ken Russell's 1977 film "Valentino," in which he is portrayed by Rudolf Nureyev.


title: Rudolph Valentino

text: An earlier feature film about Valentino's life, also called "Valentino," was released in 1951, starring Anthony Dexter in the title role. Dexter bore a striking resemblance to the screen legend.


title: Rudolph Valentino

text: Actor Oliver Clark makes a cameo in the 1971 film "They Might Be Giants" as a nonverbal psychiatric patient nicknamed Mr. Small, who is under the delusion that he is Valentino and refuses to speak until recognized. His delusion is quickly deduced by the main character, who is himself under the delusion that he is Sherlock Holmes.


title: Rudolph Valentino

text: Valentino is played by actor/director Alex Monty Canawati in the motion picture "Return to Babylon" (2013).


title: Rudolph Valentino

text: In 1986, the French TV channel FR3 produced the television movie "Série portrait, Rudolph Valentino", with Frédéric Norbert as Valentino.


title: Rudolph Valentino

text: In his own lifetime, he was referenced in the film "Mud and Sand," a parody of "Blood and Sand," which starred Stan Laurel as a bullfighter named Rhubarb Vaseline.


title: Rudolph Valentino

text: Valentino is a supporting character in the of the horror anthology series "American Horror Story." In the series, Valentino, who is played by Finn Wittrock, fakes his own death in 1926 after being transformed into a vampire. Valentino then turns his fictional lover, Elizabeth Johnson (Lady Gaga), into a vampire, as well. Elizabeth goes on to become the Countess, the central antagonist of the show's fifth season, while Valentino is eventually killed by Donovan (Matt Bomer), one of Elizabeth's many lovers, in a jealous rage.


title: Rudolph Valentino

text: Vladislav Kozlov will play Valentino in his upcoming indie biopic "Silent Life", while Franco Nero will play Valentino's spirit.


title: Rudolph Valentino

text: Shortly after his death, several songs in tribute to Valentino, including "There's a New Star in Heaven Tonight" and one by his first wife, Jean Acker, titled "We Will Meet at the End of the Trail", became bestsellers. In 1964, Freddie Hart recorded a ballad titled "Valentino".


title: Flowchart

text: A flowchart is a type of diagram that represents a workflow or process. A flowchart can also be defined as a diagrammatic representation of an algorithm, a step-by-step approach to solving a task.


title: Flowchart

text: The flowchart shows the steps as boxes of various kinds, and their order by connecting the boxes with arrows. This diagrammatic representation illustrates a solution model to a given problem. Flowcharts are used in analyzing, designing, documenting or managing a process or program in various fields.


title: Flowchart

text: Flowcharts are used to design and document simple processes or programs. Like other types of diagrams, they help visualize the process. Two of the many benefits are flaws and bottlenecks may become apparent. Flowcharts typically use the following main symbols:


title: Flowchart

text: A flowchart is described as "cross-functional" when the chart is divided into different vertical or horizontal parts, to describe the control of different organizational units. A symbol appearing in a particular part is within the control of that organizational unit. A cross-functional flowchart allows the author to correctly locate the responsibility for performing an action or making a decision, and to show the responsibility of each organizational unit for different parts of a single process.


title: Flowchart

text: Flowcharts represent certain aspects of processes and are usually complemented by other types of diagram. For instance, Kaoru Ishikawa defined the flowchart as one of the seven basic tools of quality control, next to the histogram, Pareto chart, check sheet, control chart, cause-and-effect diagram, and the scatter diagram. Similarly, in UML, a standard concept-modeling notation used in software development, the activity diagram, which is a type of flowchart, is just one of many different diagram types.


title: Flowchart

text: Common alternative names include: flow chart, process flowchart, functional flowchart, process map, process chart, functional process chart, business process model, process model, process flow diagram, work flow diagram, business flow diagram. The terms "flowchart" and "flow chart" are used interchangeably.


title: Flowchart

text: The underlying graph structure of a flowchart is a flow graph, which abstracts away node types, their contents and other ancillary information.


title: Flowchart

text: The first structured method for documenting process flow, the "flow process chart", was introduced by Frank and Lillian Gilbreth in the presentation "Process Charts: First Steps in Finding the One Best Way to do Work", to members of the American Society of Mechanical Engineers (ASME) in 1921. The Gilbreths' tools quickly found their way into industrial engineering curricula. In the early 1930s, an industrial engineer, Allan H. Mogensen began to train business people in the use of some of the tools of industrial engineering at his Work Simplification Conferences in Lake Placid, New York.


title: Flowchart

text: Art Spinanger, a 1944 graduate of Mogensen's class, took the tools back to Procter and Gamble where he developed their Deliberate Methods Change Program. Ben S. Graham, another 1944 graduate, Director of Formcraft Engineering at Standard Register Industrial, applied the flow process chart to information processing with his development of the multi-flow process chart, to present multiple documents and their relationships. In 1947, ASME adopted a symbol set derived from Gilbreth's original work as the "ASME Standard: Operation and Flow Process Charts."


title: Flowchart

text: Douglas Hartree in 1949 explained that Herman Goldstine and John von Neumann had developed a flowchart (originally, diagram) to plan computer programs. His contemporary account was endorsed by IBM engineers and by Goldstine's personal recollections. The original programming flowcharts of Goldstine and von Neumann can be found in their unpublished report, "Planning and coding of problems for an electronic computing instrument, Part II, Volume 1" (1947), which is reproduced in von Neumann's collected works.


title: Flowchart

text: The flowchart became a popular tool for describing computer algorithms, but its popularity decreased in the 1970s, when interactive computer terminals and third-generation programming languages became common tools for computer programming, since algorithms can be expressed more concisely as source code in such languages. Often pseudo-code is used, which uses the common idioms of such languages without strictly adhering to the details of a particular one.


title: Flowchart

text: In the early 21st century, flowcharts were still used for describing computer algorithms. Modern techniques such as UML activity diagrams and Drakon-charts can be considered to be extensions of the flowchart.


title: Flowchart

text: Sterneckert (2003) suggested that flowcharts can be modeled from the perspective of different user groups (such as managers, system analysts and clerks), and that there are four general types:


title: Flowchart

text: Notice that every type of flowchart focuses on some kind of control, rather than on the particular flow itself.


title: Flowchart

text: However, there are some different classifications. For example, Andrew Veronis (1978) named three basic types of flowcharts: the "system flowchart", the "general flowchart", and the "detailed flowchart". That same year Marilyn Bohl (1978) stated "in practice, two kinds of flowcharts are used in solution planning: "system flowcharts" and "program flowcharts"...". More recently, Mark A. Fryman (2001) identified more differences: "Decision flowcharts, logic flowcharts, systems flowcharts, product flowcharts, and process flowcharts are just a few of the different types of flowcharts that are used in business and government".


title: Flowchart

text: In addition, many diagram techniques are similar to flowcharts but carry a different name, such as UML activity diagrams.


title: Flowchart

text: The American National Standards Institute (ANSI) set standards for flowcharts and their symbols in the 1960s. The International Organization for Standardization (ISO) adopted the ANSI symbols in 1970. The current standard, ISO 5807, was revised in 1985. Generally, flowcharts flow from top to bottom and left to right.


title: Flowchart

text: For parallel and concurrent processing the "Parallel Mode" horizontal lines or a horizontal bar indicate the start or end of a section of processes that can be done independently:


title: Flowchart

text: Any drawing program can be used to create flowchart diagrams, but these will have no underlying data model to share data with databases or other programs such as project management systems or spreadsheet. Many software packages exist that can create flowcharts automatically, either directly from a programming language source code, or from a flowchart description language.


title: Flowchart

text: There are several applications and visual programming languages that use flowcharts to represent and execute programs. Generally these are used as teaching tools for beginner students. Examples include Flowgorithm, Raptor, LARP, Visual Logic, Fischertechnik ROBO Pro, and VisiRule.


title: James Cagney

text: James Francis Cagney Jr. (; July 17, 1899March 30, 1986) was an American actor, dancer and film director. On stage and in film, Cagney was known for his consistently energetic performances, distinctive vocal style, and deadpan comic timing. He won acclaim and major awards for a wide variety of performances. He is remembered for playing multifaceted tough guys in films such as "The Public Enemy" (1931), "Taxi!" (1932), "Angels with Dirty Faces" (1938), "The Roaring Twenties" (1939), "City for Conquest" (1940) and "White Heat" (1949), finding himself typecast or limited by this reputation earlier in his career. He was able to negotiate dancing opportunities in his films and ended up winning the Academy Award for his role in the musical "Yankee Doodle Dandy" (1942). In 1999 the American Film Institute ranked him eighth among its list of greatest male stars of the Golden Age of Hollywood. Orson Welles described Cagney as "maybe the greatest actor who ever appeared in front of a camera".


title: James Cagney

text: In his first professional acting performance in 1919, Cagney was costumed as a woman when he danced in the chorus line of the revue "Every Sailor". He spent several years in vaudeville as a dancer and comedian, until he got his first major acting part in 1925. He secured several other roles, receiving good notices, before landing the lead in the 1929 play "Penny Arcade". Al Jolson saw Cagney in the play and bought the movie rights, before selling them to Warner Bros. with the proviso that James Cagney and Joan Blondell be able to reprise their stage roles in the movie. After rave reviews, Warner Bros. signed him for an initial $400-a-week, three-week contract; when the executives at the studio saw the first dailies for the film, Cagney's contract was immediately extended.


title: James Cagney

text: Cagney's fifth film, "The Public Enemy", became one of the most influential gangster movies of the period. Notable for a famous scene in which Cagney pushes half a grapefruit against Mae Clarke's face, the film thrust him into the spotlight. He became one of Hollywood's leading stars and one of Warner Bros.' biggest contracts. In 1938 he received his first Academy Award nomination for Best Actor for his subtle portrayal of the tough guy/man-child Rocky Sullivan in "Angels with Dirty Faces". In 1942 Cagney won the Oscar for his energetic portrayal of George M. Cohan in "Yankee Doodle Dandy". He was nominated a third time in 1955 for "Love Me or Leave Me" with Doris Day. Cagney retired from acting and dancing in 1961 to spend time on his farm with his family. He came out of retirement 20 years later for a part in the movie "Ragtime" (1981), mainly to aid his recovery from a stroke.


title: James Cagney

text: Cagney walked out on Warner Bros. several times over the course of his career, each time returning on much improved personal and artistic terms. In 1935 he sued Warner for breach of contract and won. This was one of the first times an actor prevailed over a studio on a contract issue. He worked for the independent film company Grand National Pictures (starring in two films: the musical 'Something to Sing About' and the drama 'Great Guy') for a year while the suit was being settled, establishing his own production company, Cagney Productions, in 1942 before returning to Warner seven years later. In reference to Cagney's refusal to be pushed around, Jack L. Warner called him "the Professional Againster". Cagney also made numerous USO troop tours before and during World War II and served as president of the Screen Actors Guild for two years.


title: James Cagney

text: James Francis "Jimmy" Cagney was born in 1899 on the Lower East Side of Manhattan in New York City. His biographers disagree as to the actual location: either on the corner of Avenue D and 8th Street, or in a top-floor apartment at 391 East 8th Street, the address that is on his birth certificate. His father, James Francis Cagney Sr. (1875–1918), was of Irish descent. At the time of his son's birth, he was a bartender and amateur boxer, although on Cagney's birth certificate, he is listed as a telegraphist. His mother was Carolyn Elizabeth (née Nelson; 1877–1945); her father was a Norwegian ship's captain, and her mother was Irish.


title: James Cagney

text: Cagney was the second of seven children, two of whom died within months of their births. He was sickly as an infant—so much so that his mother feared he would die before he could be baptized. He later attributed his sickly health to the poverty his family endured. The family moved twice while he was still young, first to East 79th Street, and then to East 96th Street. He was confirmed at St. Francis de Sales Roman Catholic Church in Manhattan; his funeral service would eventually be held in the same church.


title: James Cagney

text: The red-haired, blue-eyed Cagney graduated from Stuyvesant High School in New York City, in 1918, and attended Columbia College, where he intended to major in Art. He also took German and joined the Student Army Training Corps, but he dropped out after one semester, returning home upon the death of his father during the 1918 flu pandemic.


title: James Cagney

text: Cagney held a variety of jobs early in his life: junior architect, copy boy for the "New York Sun", book custodian at the New York Public Library, bellhop, draughtsman, and night doorkeeper. He gave all his earnings to his family. While Cagney was working for the New York Public Library, he met Florence James, who helped him into an acting career. Cagney believed in hard work, later stating, "It was good for me. I feel sorry for the kid who has too cushy a time of it. Suddenly he has to come face-to-face with the realities of life without any mama or papa to do his thinking for him."


title: James Cagney

text: He started tap dancing as a boy (a skill that eventually contributed to his Academy Award) and was nicknamed "Cellar-Door Cagney" after his habit of dancing on slanted cellar doors. He was a good street fighter, defending his older brother Harry, a medical student, when necessary. He engaged in amateur boxing, and was a runner-up for the New York state lightweight title. His coaches encouraged him to turn professional, but his mother would not allow it. He also played semi-professional baseball for a local team, and entertained dreams of playing in the Major Leagues.


title: James Cagney

text: His introduction to films was unusual. When visiting an aunt who lived in Brooklyn, opposite Vitagraph Studios, Cagney would climb over the fence to watch the filming of John Bunny movies. He became involved in amateur dramatics, starting as a scenery boy for a Chinese pantomime at Lenox Hill Neighborhood House (one of the first settlement houses in the nation) where his brother Harry performed and Florence James directed. He was initially content working behind the scenes and had no interest in performing. One night, however, Harry became ill, and although Cagney was not an understudy, his photographic memory of rehearsals enabled him to stand in for his brother without making a single mistake.


title: James Cagney

text: In 1919, while Cagney was working at Wanamaker's Department Store, a colleague saw him dance and informed him about a role in the upcoming production, "Every Sailor". It was a wartime play in which the chorus was made up of servicemen dressed as women that was originally titled "Every Woman". Cagney auditioned for the chorus, although considering it a waste of time, as he knew only one dance step, the complicated Peabody, but he knew it perfectly. This was enough to convince the producers that he could dance, and he copied the other dancers' moves and added them to his repertoire while waiting to go on. He did not find it odd to play a woman, nor was he embarrassed. He later recalled how he was able to shed his own naturally shy persona when he stepped onto the stage: "For there I am not myself. I am not that fellow, Jim Cagney, at all. I certainly lost all consciousness of him when I put on skirts, wig, paint, powder, feathers and spangles."


title: James Cagney

text: Had Cagney's mother had her way, his stage career would have ended when he quit "Every Sailor" after two months; proud as she was of his performance, she preferred that he get an education. Cagney appreciated the $35 a week he was paid, which he later remembered as "a mountain of money for me in those worrisome days." In deference to his mother's concerns, he got a job as a brokerage house runner. This did not stop him from looking for more stage work, however, and he went on to audition successfully for a chorus part in the William B. Friedlander musical "Pitter Patter", for which he earned $55 a week. (He sent $40 to his mother each week.) So strong was his habit of holding down more than one job at a time, he also worked as a dresser for one of the leads, portered the casts' luggage, and understudied for the lead. Among the chorus line performers was 16-year-old Frances Willard "Billie" Vernon; they married in 1922.


title: James Cagney

text: The show began Cagney's 10-year association with vaudeville and Broadway. The Cagneys were among the early residents of Free Acres, a social experiment established by Bolton Hall in Berkeley Heights, New Jersey.


title: James Cagney

text: "Pitter Patter" was not hugely successful, but it did well enough to run for 32 weeks, making it possible for Cagney to join the vaudeville circuit. He and Vernon toured separately with a number of different troupes, reuniting as "Vernon and Nye" to do simple comedy routines and musical numbers. "Nye" was a rearrangement of the last syllable of Cagney's surname. One of the troupes Cagney joined was Parker, Rand, and Leach, taking over the spot vacated when Archie Leach—who later changed his name to Cary Grant—left.


title: James Cagney

text: In 1924, after years of touring and struggling to make money, Cagney and Vernon moved to Hawthorne, California, partly for Cagney to meet his new mother-in-law, who had just moved there from Chicago, and partly to investigate breaking into the movies. Their train fares were paid for by a friend, the press officer of "Pitter Patter", who was also desperate to act. They were not successful at first; the dance studio Cagney set up had few clients and folded, and Vernon and he toured the studios, but there was no interest. Eventually, they borrowed some money and headed back to New York via Chicago and Milwaukee, enduring failure along the way when they attempted to make money on the stage.


title: James Cagney

text: Cagney secured his first significant nondancing role in 1925. He played a young tough guy in the three-act play "Outside Looking In" by Maxwell Anderson, earning $200 a week. As with "Pitter Patter", Cagney went to the audition with little confidence he would get the part. At this point, he had had no experience with drama. Cagney felt that he only got the role because his hair was redder than that of Alan Bunce, the only other red-headed performer in New York. Both the play and Cagney received good reviews; "Life" magazine wrote, "Mr. Cagney, in a less spectacular role [than his co-star] makes a few minutes silence during his mock-trial scene something that many a more established actor might watch with profit." Burns Mantle wrote that it "...contained the most honest acting now to be seen in New York."


title: James Cagney

text: Following the four-month run of "Outside Looking In", the Cagneys were financially secure enough for Cagney to return to vaudeville over the next few years, achieving various success. During this period, he met George M. Cohan, whom he later portrayed in "Yankee Doodle Dandy", though they never spoke.


title: James Cagney

text: Cagney secured the lead role in the 1926–27 season West End production of "Broadway" by George Abbott. The show's management insisted that he copy Broadway lead Lee Tracy's performance, despite Cagney's discomfort in doing so, but the day before the show sailed for England, they decided to replace him. This was a devastating turn of events for Cagney; apart from the logistical difficulties this presented—the couple's luggage was in the hold of the ship and they had given up their apartment. He almost quit show business. As Vernon recalled, "Jimmy said that it was all over. He made up his mind that he would get a job doing something else."


title: James Cagney

text: The Cagneys had run-of-the-play contracts, which lasted as long as the play did. Vernon was in the chorus line of the show, and with help from the Actors' Equity Association, Cagney understudied Tracy on the Broadway show, providing them with a desperately needed steady income. Cagney also established a dance school for professionals, and then landed a part in the play "Women Go On Forever", directed by John Cromwell, which ran for four months. By the end of the run, Cagney was exhausted from acting and running the dance school.


title: James Cagney

text: Cagney had built a reputation as an innovative teacher; when he was cast as the lead in "Grand Street Follies of 1928", he was also appointed choreographer. The show received rave reviews and was followed by "Grand Street Follies of 1929". These roles led to a part in George Kelly's "Maggie the Magnificent", a play the critics disliked, though they liked Cagney's performance. Cagney saw this role (and "Women Go on Forever") as significant because of the talented directors he met. He learned "...what a director was for and what a director could do. They were directors who could play all the parts in the play better than the actors cast for them."


title: James Cagney

text: Playing opposite Cagney in "Maggie the Magnificent" was Joan Blondell, who starred again with him a few months later in Marie Baumer's new play, "Penny Arcade". While the critics panned "Penny Arcade", they praised Cagney and Blondell. Al Jolson, sensing film potential, bought the rights for $20,000. He then sold the play to Warner Bros., with the stipulation that they cast Cagney and Blondell in the film version. Retitled "Sinners' Holiday", the film was released in 1930, starring Grant Withers and Evalyn Knapp. Joan Blondell recalled that when they were casting the film studio head Jack Warner believed that she and Cagney had no future and that Withers and Knapp were destined for stardom. Cagney was given a $500-a-week, three-week contract with Warner Bros.


title: James Cagney

text: In the film, he portrayed Harry Delano, a tough guy who becomes a killer but generates sympathy because of his unfortunate upbringing. This role of the sympathetic "bad" guy was to become a recurring character type for Cagney throughout his career. During filming of "Sinners' Holiday", he also demonstrated the stubbornness that characterized his attitude toward the work. He later recalled an argument he had with director John Adolfi about a line: "There was a line in the show where I was supposed to be crying on my mother's breast... [The line] was 'I'm your baby, ain't I?' I refused to say it. Adolfi said 'I'm going to tell Zanuck.' I said 'I don't give a shit what you tell him, I'm not going to say that line.'" They took the line out.


title: James Cagney

text: Despite this outburst, the studio liked him, and before his three-week contract was up—while the film was still shooting—they gave Cagney a three-week extension, which was followed by a full seven-year contract at $400 a week. However, the contract allowed Warners to drop him at the end of any 40-week period, effectively guaranteeing him only 40 weeks’ income at a time. As he did when he was growing up, Cagney shared his income with his family. Cagney received good reviews and immediately played another colorful gangster supporting role in "The Doorway to Hell" (1930) starring Lew Ayres. The film was a financial hit and helped to cement Cagney's growing reputation. He made four more movies before his breakthrough role.


title: James Cagney

text: Warner Brothers' succession of gangster movie hits, in particular "Little Caesar" with Edward G. Robinson, culminated in the 1931 film "The Public Enemy". Due to the strong reviews he had received in his short film career, Cagney was cast as nice-guy Matt Doyle, opposite Edward Woods as Tom Powers. However, after the initial rushes, the actors switched roles. Years later, Joan Blondell recalled that a few days into the filming, director William Wellman turned to Cagney and said “Now you’re the lead, kid!” “Jimmy’s charisma was so outstanding,” she added. The film cost only $151,000 to make, but it became one of the first low-budget films to gross $1 million.


title: James Cagney

text: Cagney received widespread praise for his performance. The "New York Herald Tribune" described his interpretation as "...the most ruthless, unsentimental appraisal of the meanness of a petty killer the cinema has yet devised." He received top billing after the film, but while he acknowledged the importance of the role to his career, he always disputed the suggestion that it changed the way heroes and leading men were portrayed: He cited Clark Gable's slapping of Barbara Stanwyck six months earlier (in "Night Nurse") as more important. "Night Nurse" was actually released three months after "The Public Enemy." Gable punched Stanwyck's character in the film, knocking the nurse unconscious.


title: James Cagney

text: Many critics view the scene in which Cagney pushes half a grapefruit into Mae Clarke's face as one of the most famous moments in movie history. The scene itself was a late addition, and the origin of the idea is a matter of debate. Producer Darryl Zanuck claimed he thought of it in a script conference; Wellman said the idea came to him when he saw the grapefruit on the table during the shoot; and writers Glasmon and Bright claimed it was based on the real life of gangster Hymie Weiss, who threw an omelette into his girlfriend's face. Joan Blondell recalled that the change was made when Cagney decided the omelette wouldn't work. Cagney himself usually cited the writers' version, but the fruit's victim, Clarke, agreed that it was Wellman's idea, saying, "I'm sorry I ever agreed to do the grapefruit bit. I never dreamed it would be shown in the movie. Director Bill Wellman thought of the idea suddenly. It wasn't even written into the script.".


title: James Cagney

text: However, according to Turner Classic Movies (TCM), the grapefruit scene was a practical joke that Cagney and costar Mae Clarke decided to play on the crew while the cameras were rolling. Wellman liked it so much that he left it in. TCM also notes that the scene made Clarke's ex-husband, Lew Brice, very happy. "He saw the film repeatedly just to see that scene, and was often shushed by angry patrons when his delighted laughter got too loud."


title: James Cagney

text: Cagney's stubbornness became well known behind the scenes, especially after he refused to join in a 100% participation-free charity drive pushed by Douglas Fairbanks Jr. Cagney did not object to donating money to charity, but he did object to being forced to give. Already he had acquired the nickname "The Professional Againster".


title: James Cagney

text: Warner Bros. was quick to team its two rising gangster stars—Edward G. Robinson and Cagney—for the 1931 film "Smart Money". So keen was the studio to follow up the success of Robinson's "Little Caesar" that Cagney actually shot "Smart Money" (for which he received second billing in a supporting role) at the same time as "The Public Enemy". As in "The Public Enemy", Cagney was required to be physically violent to a woman on screen, a signal that Warner Bros. was keen to keep Cagney in the public eye. This time, he slapped co-star Evalyn Knapp.


title: James Cagney

text: With the introduction of the United States Motion Picture Production Code of 1930, and particularly its edicts concerning on-screen violence, Warners allowed Cagney a change of pace. They cast him in the comedy "Blonde Crazy", again opposite Blondell. The film is notable for one of Cagney's lines, a phrase often repeated by celebrity impersonators: "That dirty, double-crossin' rat!" The line was nominated for the American Film Institute 2005 AFI's 100 Years...100 Movie Quotes


title: James Cagney

text: As he completed filming, "The Public Enemy" was filling cinemas with all-night showings. Cagney began to compare his pay with his peers, thinking his contract allowed for salary adjustments based on the success of his films. Warner Bros. disagreed, however, and refused to give him a raise. The studio heads also insisted that Cagney continue promoting their films, even ones he was not in, which he opposed. Cagney moved back to New York, leaving his brother Bill to look after his apartment.


title: James Cagney

text: While Cagney was in New York, his brother, who had effectively become his agent, angled for a substantial pay raise and more personal freedom for his brother. The success of "The Public Enemy" and "Blonde Crazy" forced Warner Bros.' hand. They eventually offered Cagney a contract for $1000 a week. Cagney's first film upon returning from New York was 1932's "Taxi!". The film is notable for not only being the first time that Cagney danced on screen, but it was also the last time he allowed himself to be shot at with live ammunition (a relatively common occurrence at the time, as blank cartridges and squibs were considered too expensive and hard to find to use in most motion picture filming). He had been shot at in "The Public Enemy", but during filming for "Taxi!", he was almost hit.


title: James Cagney

text: In his opening scene, Cagney spoke fluent Yiddish, a language he had picked up during his boyhood in New York City. Critics praised the film. "Taxi!" was the source of one of Cagney's most misquoted lines; he never actually said, "MMMmmm, you dirty rat!", a line commonly used by impressionists. The closest he got to it in the film was, "Come out and take it, you dirty, yellow-bellied rat, or I'll give it to you through the door!" The film was swiftly followed by "The Crowd Roars" and "Winner Take All".


title: James Cagney

text: Despite his success, Cagney remained dissatisfied with his contract. He wanted more money for his successful films, but he also offered to take a smaller salary should his star wane. Warner Bros. refused, so Cagney once again walked out. He held out for $4000 a week, the same salary as Edward G. Robinson, Douglas Fairbanks Jr., and Kay Francis. Warner Bros. refused to cave in this time, and suspended him. Cagney announced that he would do his next three pictures for free if they canceled the five years remaining on his contract. He also threatened to quit Hollywood and go back to Columbia University to follow his brothers into medicine. After six months of suspension, Frank Capra brokered a deal that increased Cagney's salary to around $3000 a week, and guaranteed top billing and no more than four films a year.


title: James Cagney

text: Having learned about the block-booking studio system that virtually guaranteed the studios huge profits, Cagney was determined to spread the wealth. He regularly sent money and goods to old friends from his neighborhood, though he did not generally make this known. His insistence on no more than four films a year was based on his having witnessed actors—even teenagers—regularly being worked 100 hours a week to turn out more films. This experience was an integral reason for his involvement in forming the Screen Actors Guild in 1933.


title: James Cagney

text: Cagney returned to the studio and made "Hard to Handle" (1933). This was followed by a steady stream of crowd-pleasing films, including the highly regarded "Footlight Parade", which gave Cagney the chance to return to his song-and-dance roots. The film includes show-stopping scenes with Busby Berkeley-choreographed routines. In 1934, "Here Comes the Navy" paired him with Pat O'Brien for the first of nine films together. The two would have an enduring friendship. Also in 1934, Cagney made his first of two raucous comedies with Bette Davis, "Jimmy the Gent", for which he had himself heavily made up with thick eyebrows and procured an odd haircut for the period without the studio's permission, shaved on the back and sides. Cagney initially had the make-up department put prominent scars on the back of his head for a close-up but the studio demanded that he remove them. Cagney and Davis' fast-paced scenes together were particularly energetic.


title: James Cagney

text: In 1935 Cagney was listed as one of the Top Ten Moneymakers in Hollywood for the first time, and was cast more frequently in non-gangster roles; he played a lawyer who joins the FBI in "G-Men", and he also took on his first, and only, Shakespearean role, as top-billed Nick Bottom in "A Midsummer Night's Dream" alongside Joe E. Brown as Flute and Mickey Rooney as Puck.


title: James Cagney

text: Cagney's last movie in 1935 was "Ceiling Zero", his third film with Pat O'Brien. O'Brien received top billing, which was a clear breach of Cagney's contract. This, combined with the fact that Cagney had made five movies in 1934, again against his contract terms, caused him to bring legal proceedings against Warner Bros. for breach of contract. The dispute dragged on for several months. Cagney received calls from David Selznick and Sam Goldwyn, but neither felt in a position to offer him work while the dispute went on. Meanwhile, while being represented by his brother William in court, Cagney went back to New York to search for a country property where he could indulge his passion for farming.


title: James Cagney

text: Cagney spent most of the next year on his farm, and went back to work only when Edward L. Alperson from Grand National Films, a newly established, independent studio, approached him to make movies for $100,000 a film and 10% of the profits. Cagney made two films for Grand National: "Great Guy" and "Something to Sing About". He received good reviews for both, but overall the production quality was not up to Warner Bros. standards, and the films did not do well. A third film, "Dynamite", was planned, but Grand National ran out of money.


title: James Cagney

text: Cagney also became involved in political causes, and in 1936, agreed to sponsor the Hollywood Anti-Nazi League. Unknown to Cagney, the League was in fact a front organization for the Communist International (Comintern), which sought to enlist support for the Soviet Union and its foreign policies.


title: James Cagney

text: The courts eventually decided the Warner Bros. lawsuit in Cagney's favor. He had done what many thought unthinkable: taking on the studios and winning. Not only did he win, but Warner Bros. also knew that he was still their foremost box office draw and invited him back for a five-year, $150,000-a-film deal, with no more than two pictures a year. Cagney also had full say over what films he did and did not make. Additionally, William Cagney was guaranteed the position of assistant producer for the movies in which his brother starred.


title: James Cagney

text: Cagney had demonstrated the power of the walkout in keeping the studios to their word. He later explained his reasons, saying, "I walked out because I depended on the studio heads to keep their word on this, that or other promise, and when the promise was not kept, my only recourse was to deprive them of my services." Cagney himself acknowledged the importance of the walkout for other actors in breaking the dominance of the studio system. Normally, when a star walked out, the time he or she was absent was added onto the end of an already long contract, as happened with Olivia de Havilland and Bette Davis. Cagney, however, walked out and came back to a better contract. Many in Hollywood watched the case closely for hints of how future contracts might be handled.


title: James Cagney

text: Artistically, the Grand National experiment was a success for Cagney, who was able to move away from his traditional Warner Bros. tough guy roles to more sympathetic characters. How far he could have experimented and developed will never be known, but back in the Warner fold, he was once again playing tough guys.


title: James Cagney

text: Cagney's two films of 1938, "Boy Meets Girl" and "Angels with Dirty Faces", both costarred Pat O'Brien. The former had Cagney in a comedy role, and received mixed reviews. Warner Bros. had allowed Cagney his change of pace, but was keen to get him back to playing tough guys, which was more lucrative. Ironically, the script for "Angels" was one that Cagney had hoped to do while with Grand National, but the studio had been unable to secure funding.


title: James Cagney

text: Cagney starred as Rocky Sullivan, a gangster fresh out of jail and looking for his former associate, played by Humphrey Bogart, who owes him money. While revisiting his old haunts, he runs into his old friend Jerry Connolly, played by O'Brien, who is now a priest concerned about the Dead End Kids' futures, particularly as they idolize Rocky. After a messy shootout, Sullivan is eventually captured by the police and sentenced to death in the electric chair. Connolly pleads with Rocky to "turn yellow" on his way to the chair so the Kids will lose their admiration for him, and hopefully avoid turning to crime. Sullivan refuses, but on his way to his execution, he breaks down and begs for his life. It is unclear whether this cowardice is real or just feigned for the Kids' benefit. Cagney himself refused to say, insisting he liked the ambiguity. The film is regarded by many as one of Cagney's finest, and garnered him an Academy Award for Best Actor nomination for 1938. He lost to Spencer Tracy in "Boys Town". Cagney had been considered for the role, but lost out on it due to his typecasting. (He also lost the role of Notre Dame football coach Knute Rockne in "Knute Rockne, All American" to his friend Pat O'Brien for the same reason.) Cagney did, however, win that year's New York Film Critics Circle Award for Best Actor.


title: James Cagney

text: His earlier insistence on not filming with live ammunition proved to be a good decision. Having been told while filming "Angels with Dirty Faces" that he would be doing a scene with real machine gun bullets (a common practice in the Hollywood of the time), Cagney refused and insisted the shots be added afterwards. As it turned out, a ricocheting bullet passed through exactly where his head would have been.


title: James Cagney

text: During his first year back at Warner Bros., Cagney became the studio's highest earner, making $324,000. In addition to the smash hit "Each Dawn I Die", an extremely entertaining prison movie with George Raft that was so successful at the box office that it prompted the studio to offer Raft an important contract in the wake of his departure from Paramount, and "The Oklahoma Kid", a memorable Western with Humphrey Bogart as the black-clad villain. Cagney completed his first decade of movie-making in 1939 with "The Roaring Twenties", his first film with Raoul Walsh and his last with Bogart. After "The Roaring Twenties", it would be a decade before Cagney made another gangster film. Cagney again received good reviews; Graham Greene stated, "Mr. Cagney, of the bull-calf brow, is as always a superb and witty actor". "The Roaring Twenties" was the last film in which Cagney's character's violence was explained by poor upbringing, or his environment, as was the case in "The Public Enemy". From that point on, violence was attached to mania, as in "White Heat". In 1939 Cagney was second to only Gary Cooper in the national acting wage stakes, earning $368,333.


title: James Cagney

text: In 1940, Cagney portrayed a boxer in the epic thriller "City for Conquest" with Ann Sheridan as Cagney's leading lady, Arthur Kennedy in his first screen role as Cagney's younger brother attempting to compose musical symphonies, Anthony Quinn as a brutish dancer, and Elia Kazan as a flamboyantly dressed young gangster originally from the local neighborhood. The well-received film with its shocking plot twists features one of Cagney's most moving performances.


title: James Cagney

text: Later the same year, Cagney and Sheridan reunited with Pat O'Brien in "Torrid Zone", a turbulent comedy set in a Central American country in which a labor organizer is turning the workers against O'Brien's character's banana company, with Cagney's "Nick Butler" intervening. The supporting cast features Andy Devine and George Reeves.


title: James Cagney

text: Cagney's third film in 1940 was "The Fighting 69th", a World War I film about a real-life unit with Cagney playing a fictional private, alongside Pat O'Brien as Father Francis P. Duffy, George Brent as future OSS leader Maj. "Wild Bill" Donovan, and Jeffrey Lynn as famous young poet Sgt. Joyce Kilmer. Alan Hale Sr., Frank McHugh and Dick Foran also appear. In 1941, Cagney and Bette Davis reunited for a comedy set in the contemporary West titled "The Bride Came C.O.D.", followed by a change of pace with the gentle turn-of-the-century romantic comedy "The Strawberry Blonde" (1941) featuring songs of the period and also starring Olivia de Havilland and rising young phenomenon Rita Hayworth, along with Alan Hale Sr. and Jack Carson.


title: James Cagney

text: In 1942, Cagney portrayed George M. Cohan in "Yankee Doodle Dandy", a film Cagney "took great pride in" and considered his best. Producer Hal Wallis said that having seen Cohan in "I'd Rather Be Right", he never considered anyone other than Cagney for the part. Cagney, though, insisted that Fred Astaire had been the first choice, but turned it down. Many critics of the time and since have declared it Cagney's best film, drawing parallels between Cohan and Cagney; they both began their careers in vaudeville, struggled for years before reaching the peak of their profession, were surrounded with family and married early, and both had a wife who was happy to sit back while he went on to stardom. The film was nominated for eight Academy Awards and won three, including Cagney's for Best Actor. In his acceptance speech, Cagney said, "I've always maintained that in this business, you're only as good as the other fellow thinks you are. It's nice to know that you people thought I did a good job. And don't forget that it was a good part, too."


title: James Cagney

text: Filming began the day after the attack on Pearl Harbor, and the cast and crew worked in a "patriotic frenzy" as the United States' involvement in World War II gave the workers a feeling that "they might be sending the last message from the free world", according to actress Rosemary DeCamp. Cohan was given a private showing of the film shortly before his death, and thanked Cagney "for a wonderful job," exclaiming, "My God, what an act to follow!" A paid première, with seats ranging from $25 to $25,000, raised $5,750,000 for war bonds for the US treasury.


title: James Cagney

text: Cagney announced in March 1942 that his brother William and he were setting up Cagney Productions to release films though United Artists. Free of Warner Bros. again, Cagney spent some time relaxing on his farm in Martha's Vineyard before volunteering to join the USO. He spent several weeks touring the US, entertaining troops with vaudeville routines and scenes from "Yankee Doodle Dandy". In September 1942, he was elected president of the Screen Actors Guild.


title: James Cagney

text: Almost a year after its creation, Cagney Productions produced its first film, "Johnny Come Lately", in 1943. While the major studios were producing patriotic war movies, Cagney was determined to continue dispelling his tough-guy image, so he produced a movie that was a "complete and exhilarating exposition of the Cagney 'alter-ego' on film". According to Cagney, the film "made money but it was no great winner", and reviews varied from excellent ("Time") to poor (New York's "PM").


title: James Cagney

text: Following the film's completion, Cagney went back to the USO and toured US military bases in the UK. He refused to give interviews to the British press, preferring to concentrate on rehearsals and performances. He gave several performances a day for the Army Signal Corps of "The American Cavalcade of Dance", which consisted of a history of American dance, from the earliest days to Fred Astaire, and culminated with dances from "Yankee Doodle Dandy".


title: James Cagney

text: The second movie Cagney's company produced was "Blood on the Sun". Insisting on doing his own stunts, Cagney required judo training from expert Ken Kuniyuki and Jack Halloran, a former policeman. The Cagneys had hoped that an action film would appeal more to audiences, but it fared worse at the box office than "Johnny Come Lately". At this time, Cagney heard of young war hero Audie Murphy, who had appeared on the cover of "Life" magazine. Cagney thought that Murphy had the looks to be a movie star, and suggested that he come to Hollywood. Cagney felt, however, that Murphy could not act, and his contract was loaned out and then sold.


title: James Cagney

text: While negotiating the rights for his third independent film, Cagney starred in 20th Century Fox's "13 Rue Madeleine" for $300,000 for two months of work. The wartime spy film was a success, and Cagney was keen to begin production of his new project, an adaptation of William Saroyan's Broadway play "The Time of Your Life". Saroyan himself loved the film, but it was a commercial disaster, costing the company half a million dollars to make; audiences again struggled to accept Cagney in a nontough-guy role.


title: James Cagney

text: Cagney Productions was in serious trouble; poor returns from the produced films, and a legal dispute with Sam Goldwyn Studio over a rental agreement forced Cagney back to Warner Bros. He signed a distribution-production deal with the studio for the film "White Heat", effectively making Cagney Productions a unit of Warner Bros.


title: James Cagney

text: Cagney's portrayal of Cody Jarrett in the 1949 film "White Heat" is one of his most memorable. Cinema had changed in the 10 years since Walsh last directed Cagney (in "The Strawberry Blonde"), and the actor's portrayal of gangsters had also changed. Unlike Tom Powers in "The Public Enemy", Jarrett was portrayed as a raging lunatic with few if any sympathetic qualities. In the 18 intervening years, Cagney's hair had begun to gray, and he developed a paunch for the first time. He was no longer a dashing romantic commodity in precisely the same way he obviously was before, and this was reflected in his performance. Cagney himself had the idea of playing Jarrett as psychotic; he later stated, "it was essentially a cheapie one-two-three-four kind of thing, so I suggested we make him nuts. It was agreed so we put in all those fits and headaches."


title: James Cagney

text: Cagney's final lines in the film – "Made it, Ma! Top of the world!" – was voted the 18th-greatest movie line by the American Film Institute. Likewise, Jarrett's explosion of rage in prison on being told of his mother's death is widely hailed as one of Cagney's most memorable performances. Some of the extras on set actually became terrified of the actor because of his violent portrayal. Cagney attributed the performance to his father's alcoholic rages, which he had witnessed as a child, as well as someone that he had seen on a visit to a mental hospital.


title: James Cagney

text: The film was a critical success, though some critics wondered about the social impact of a character that they saw as sympathetic. Cagney was still struggling against his gangster typecasting. He said to a journalist, "It's what the people want me to do. Some day, though, I'd like to make another movie that kids could go and see." However, Warner Bros., perhaps searching for another "Yankee Doodle Dandy", assigned Cagney a musical for his next picture, 1950's "The West Point Story" with Doris Day, an actress he admired.


title: James Cagney

text: His next film, "Kiss Tomorrow Goodbye", was another gangster movie, which was the first by Cagney Productions since its acquisition. While compared unfavorably to "White Heat" by critics, it was fairly successful at the box office, with $500,000 going straight to Cagney Productions' bankers to pay off their losses. Cagney Productions was not a great success, however, and in 1953, after William Cagney produced his last film, "A Lion Is in the Streets", a drama loosely based on flamboyant politician Huey Long, the company came to an end.


title: James Cagney

text: Cagney's next notable role was the 1955 film "Love Me or Leave Me", his third with Doris Day, who was top-billed above Cagney for this picture, the first movie for which he'd accepted second billing since "Smart Money" in 1931. Cagney played Martin "Moe the Gimp" Snyder, a lame Jewish-American gangster from Chicago, a part Spencer Tracy had turned down. Cagney described the script as "that extremely rare thing, the perfect script". When the film was released, Snyder reportedly asked how Cagney had so accurately copied his limp, but Cagney himself insisted he had not, having based it on personal observation of other people when they limped: "What I did was very simple. I just slapped my foot down as I turned it out while walking. That's all".


title: James Cagney

text: His performance earned him another Best Actor Academy Award nomination, 17 years after his first. Reviews were strong, and the film is considered one of the best of his later career. In Day, he found a co-star with whom he could build a rapport, such as he had had with Blondell at the start of his career. Day herself was full of praise for Cagney, stating that he was "the most professional actor I've ever known. He was always 'real'. I simply forgot we were making a picture. His eyes would actually fill up when we were working on a tender scene. And you never needed drops to make your eyes shine when Jimmy was on the set."


title: James Cagney

text: Cagney's next film was "Mister Roberts", directed by John Ford and slated to star Spencer Tracy. Tracy's involvement ensured that Cagney accepted a supporting role in his close friend's movie, although in the end, Tracy did not take part and Henry Fonda played the titular role instead. Cagney enjoyed working with the film's superb cast despite the absence of Tracy. Major film star William Powell played a rare supporting role as "Doc" in the film, his final picture before retirement from a stellar career that had spanned 33 years, since his first appearance in "Sherlock Holmes" with John Barrymore in 1922. Cagney had worked with Ford on "What Price Glory?" three years earlier, and they had gotten along fairly well. However, as soon as Ford had met Cagney at the airport for that film, the director warned him that they would eventually "tangle asses", which caught Cagney by surprise. He later said, "I would have kicked his brains out. He was so goddamned mean to everybody. He was truly a nasty old man." The next day, Cagney was slightly late on set, incensing Ford. Cagney cut short his imminent tirade, saying "When I started this picture, you said that we would tangle asses before this was over. I'm ready now – are you?" Ford walked away, and they had no more problems, though Cagney never particularly liked Ford.


title: James Cagney

text: Cagney's skill at noticing tiny details in other actors' performances became apparent during the shooting of "Mister Roberts". While watching the "Kraft Music Hall" anthology television show some months before, Cagney had noticed Jack Lemmon performing left-handed, doing practically everything with his left hand. The first thing that Cagney asked Lemmon when they met was if he was still using his left hand. Lemmon was shocked; he had done it on a whim, and thought no one else had noticed. He said of his co-star, "his powers of observation must be absolutely incredible, in addition to the fact that he remembered it. I was very flattered."


title: James Cagney

text: The film was a success, securing three Oscar nominations, including Best Picture, Best Sound Recording and Best Supporting Actor for Lemmon, who won. While Cagney was not nominated, he had thoroughly enjoyed the production. Filming on Midway Island and in a more minor role meant that he had time to relax and engage in his hobby of painting. He also drew caricatures of the cast and crew.


title: James Cagney

text: In 1955 Cagney replaced Spencer Tracy on the Western film "Tribute to a Bad Man" for Metro-Goldwyn-Mayer. He received praise for his performance, and the studio liked his work enough to offer him "These Wilder Years" with Barbara Stanwyck. The two stars got on well; they had both previously worked in vaudeville, and they entertained the cast and crew off-screen by singing and dancing.


title: James Cagney

text: In 1956 Cagney undertook one of his very rare television roles, starring in Robert Montgomery's "Soldiers From the War Returning". This was a favor to Montgomery, who needed a strong fall season opener to stop the network from dropping his series. Cagney's appearance ensured that it was a success. The actor made it clear to reporters afterwards that television was not his medium: "I do enough work in movies. This is a high-tension business. I have tremendous admiration for the people who go through this sort of thing every week, but it's not for me."


title: James Cagney

text: The following year, Cagney appeared in "Man of a Thousand Faces", in which he played a fictionalized version of Lon Chaney. He received excellent reviews, with the "New York Journal American" rating it one of his best performances, and the film, made for Universal, was a box office hit. Cagney's skill at mimicry, combined with a physical similarity to Chaney, helped him generate empathy for his character.


title: James Cagney

text: Later in 1957, Cagney ventured behind the camera for the first and only time to direct "Short Cut to Hell", a remake of the 1941 Alan Ladd film "This Gun for Hire", which in turn was based on the Graham Greene novel "A Gun for Sale". Cagney had long been told by friends that he would make an excellent director, so when he was approached by his friend, producer A. C. Lyles, he instinctively said yes. He refused all offers of payment, saying he was an actor, not a director. The film was low budget, and shot quickly. As Cagney recalled, "We shot it in twenty days, and that was long enough for me. I find directing a bore, I have no desire to tell other people their business".


title: James Cagney

text: In 1959 Cagney played a labor leader in what proved to be his final musical, "Never Steal Anything Small", which featured a comical song and dance duet with Cara Williams, who played his girlfriend.


title: James Cagney

text: For Cagney's next film, he traveled to Ireland for "Shake Hands with the Devil", directed by Michael Anderson. Cagney had hoped to spend some time tracing his Irish ancestry, but time constraints and poor weather meant that he was unable to do so. The overriding message of violence inevitably leading to more violence attracted Cagney to the role of an Irish Republican Army commander, and resulted in what some critics would regard as the finest performance of his final years.


title: James Cagney

text: Cagney's career began winding down, and he made only one film in 1960, the critically acclaimed "The Gallant Hours", in which he played Admiral William F. "Bull" Halsey. The film, although set during the Guadalcanal Campaign in the Pacific Theater during World War II, was not a war film, but instead focused on the impact of command. Cagney Productions, which shared the production credit with Robert Montgomery's company, made a brief return, though in name only. The film was a success, and "The New York Times"' Bosley Crowther singled its star out for praise: "It is Mr. Cagney's performance, controlled to the last detail, that gives life and strong, heroic stature to the principal figure in the film. There is no braggadocio in it, no straining for bold or sharp effects. It is one of the quietest, most reflective, subtlest jobs that Mr. Cagney has ever done."


title: James Cagney

text: Cagney's penultimate film was a comedy. He was hand-picked by Billy Wilder to play a hard-driving Coca-Cola executive in the film "One, Two, Three". Cagney had concerns with the script, remembering back 23 years to "Boy Meets Girl", in which scenes were reshot to try to make them funnier by speeding up the pacing, with the opposite effect. Cagney received assurances from Wilder that the script was balanced. Filming did not go well, though, with one scene requiring 50 takes, something to which Cagney was unaccustomed. In fact, it was one of the worst experiences of his long career. Cagney noted, "I never had the slightest difficulty with a fellow actor. Not until "One, Two, Three". In that picture, Horst Buchholz tried all sorts of scene-stealing didoes. I came close to knocking him on his ass." For the first time, Cagney considered walking out of a film. He felt he had worked too many years inside studios, and combined with a visit to Dachau concentration camp during filming, he decided that he had had enough, and retired afterward. One of the few positive aspects was his friendship with Pamela Tiffin, to whom he gave acting guidance, including the secret that he had learned over his career: "You walk in, plant yourself squarely on both feet, look the other fella in the eye, and tell the truth."


title: James Cagney

text: Cagney remained in retirement for 20 years, conjuring up images of Jack L. Warner every time he was tempted to return, which soon dispelled the notion. After he had turned down an offer to play Alfred Doolittle in "My Fair Lady", he found it easier to rebuff others, including a part in "The Godfather Part II". He made few public appearances, preferring to spend winters in Los Angeles, and summers either at his Martha's Vineyard farm or at Verney Farms in New York. When in New York, Billie Vernon and he held numerous parties at the Silver Horn restaurant, where they got to know Marge Zimmermann, the proprietress.


title: James Cagney

text: Cagney was diagnosed with glaucoma and began taking eye drops, but continued to have vision problems. On Zimmermann's recommendation, he visited a different doctor, who determined that glaucoma had been a misdiagnosis, and that Cagney was actually diabetic. Zimmermann then took it upon herself to look after Cagney, preparing his meals to reduce his blood triglycerides, which had reached alarming levels. Such was her success that, by the time Cagney made a rare public appearance at his American Film Institute Life Achievement Award ceremony in 1974, he had lost and his vision had improved. Charlton Heston opened the ceremony, and Frank Sinatra introduced Cagney. So many Hollywood stars attended—said to be more than for any event in history—that one columnist wrote at the time that a bomb in the dining room would have ended the movie industry. In his acceptance speech, Cagney lightly chastised the impressionist Frank Gorshin, saying, "Oh, Frankie, just in passing, I never said 'MMMMmmmm, you dirty rat!' What I actually did say was 'Judy, Judy, Judy!'"—a joking reference to a similar misquotation attributed to Cary Grant.


title: James Cagney

text: While at Coldwater Canyon in 1977, Cagney had a minor stroke. After he spent two weeks in the hospital, Zimmermann became his full-time caregiver, traveling with Billie Vernon and him wherever they went. After the stroke, Cagney was no longer able to undertake many of his favorite pastimes, including horseback riding and dancing, and as he became more depressed, he even gave up painting. Encouraged by his wife and Zimmermann, Cagney accepted an offer from the director Miloš Forman to star in a small but pivotal role in the film "Ragtime" (1981).


title: James Cagney

text: This film was shot mainly at Shepperton Studios in Surrey, England, and on his arrival at Southampton aboard the "Queen Elizabeth 2", Cagney was mobbed by hundreds of fans. Cunard Line officials, who were responsible for the security at the dock, said they had never seen anything like it, although they had experienced past visits by Marlon Brando and Robert Redford.


title: James Cagney

text: Despite the fact that "Ragtime" was his first film in 20 years, Cagney was immediately at ease: Flubbed lines and miscues were committed by his co-stars, often simply through sheer awe. Howard Rollins, who received a Best Supporting Actor Oscar nomination for his performance, said, "I was frightened to meet Mr. Cagney. I asked him how to die in front of the camera. He said 'Just die!' It worked. Who would know more about dying than him?" Cagney also repeated the advice he had given to Pamela Tiffin, Joan Leslie, and Lemmon. As filming progressed, Cagney's sciatica worsened, but he finished the nine-week filming, and reportedly stayed on the set after completing his scenes to help the other actors with their dialogue.


title: James Cagney

text: Cagney's frequent co-star, Pat O'Brien, appeared with him on the British chat show "Parkinson" in the early 1980s and they both made a surprise appearance at the Queen Mother's command birthday performance at the London Palladium in 1980. His appearance on stage prompted the Queen Mother to rise to her feet, the only time she did so during the whole show, and she later broke protocol to go backstage to speak with Cagney directly.


title: James Cagney

text: Cagney made a rare TV appearance in the lead role of the movie "Terrible Joe Moran" in 1984. This was his last role. Cagney's health was fragile and more strokes had confined him to a wheelchair, but the producers worked his real-life mobility problem into the story. They also decided to dub his impaired speech, using the impersonator Rich Little. The film made use of fight clips from Cagney's boxing movie "Winner Take All" (1932).


title: James Cagney

text: In 1920, Cagney was a member of the chorus for the show "Pitter Patter", where he met Frances Willard "Billie" Vernon. They married on September 28, 1922, and the marriage lasted until his death in 1986. Frances Cagney died in 1994. In 1940 they adopted a son whom they named James Francis Cagney III, and later a daughter, Cathleen "Casey" Cagney. Cagney was a very private man, and while he was willing to give the press opportunities for photographs, he generally spent his personal time out of the public eye.


title: James Cagney

text: Cagney's son died from a heart attack on January 27, 1984, in Washington, D.C., two years before his father's death. James III had become estranged from him, and they had not seen or talked to one another since 1982. Cagney's daughter Cathleen was also estranged from her father during the final years of his life. She died on August 11, 2004.


title: James Cagney

text: As a young man, Cagney became interested in farming – sparked by a soil conservation lecture he had attended – to the extent that during his first walkout from Warner Bros., he helped to found a farm in Martha's Vineyard. Cagney loved that no paved roads surrounded the property, only dirt tracks. The house was rather run-down and ramshackle, and Billie was initially reluctant to move in, but soon came to love the place as well. After being inundated by movie fans, Cagney sent out a rumor that he had hired a gunman for security. The ruse proved so successful that when Spencer Tracy came to visit, his taxi driver refused to drive up to the house, saying, "I hear they shoot!" Tracy had to go the rest of the way on foot.


title: James Cagney

text: In 1955, having shot three films, Cagney bought a farm in Stanfordville, Dutchess County, New York, for $100,000. Cagney named it Verney Farm, taking the first syllable from Billie's maiden name and the second from his own surname. He turned it into a working farm, selling some of the dairy cattle and replacing them with beef cattle. He expanded it over the years to . Such was Cagney's enthusiasm for agriculture and farming that his diligence and efforts were rewarded by an honorary degree from Florida's Rollins College. Rather than just "turning up with Ava Gardner on my arm" to accept his honorary degree, Cagney turned the tables upon the college's faculty by writing and submitting a paper on soil conservation.


title: James Cagney

text: Cagney was born in 1899 (prior to the widespread use of automobiles) and loved horses from childhood. As a child, he often sat on the horses of local deliverymen and rode in horse-drawn streetcars with his mother. As an adult, well after horses were replaced by automobiles as the primary mode of transportation, Cagney raised horses on his farms, specializing in Morgans, a breed of which he was particularly fond.


title: James Cagney

text: Cagney was a keen sailor and owned boats that were harbored on both coasts of the U.S., including the "Swift of Ipswich". His joy in sailing, however, did not protect him from occasional seasickness—becoming ill, sometimes, on a calm day while weathering rougher, heavier seas at other times. Cagney greatly enjoyed painting, and claimed in his autobiography that he might have been happier, if somewhat poorer, as a painter than a movie star. The renowned painter Sergei Bongart taught Cagney in his later life and owned two of Cagney's works. Cagney often gave away his work but refused to sell his paintings, considering himself an amateur. He signed and sold only one painting, purchased by Johnny Carson to benefit a charity.


title: James Cagney

text: In his autobiography, Cagney said that as a young man, he had no political views, since he was more concerned with where the next meal was coming from. However, the emerging labor movement of the 1920s and 1930s soon forced him to take sides. The first version of the National Labor Relations Act was passed in 1935 and growing tensions between labor and management fueled the movement. Fanzines in the 1930s, however, described his politics as "radical".


title: James Cagney

text: This somewhat exaggerated view was enhanced by his public contractual wranglings with Warner Bros. at the time, his joining of the Screen Actors Guild in 1933, and his involvement in the revolt against the so-called "Merriam tax". The "Merriam tax" was an underhanded method of funnelling studio funds to politicians; during the 1934 Californian gubernatorial campaign, the studio executives would "tax" their actors, automatically taking a day's pay from their biggest earners, ultimately sending nearly half a million dollars to the gubernatorial campaign of Frank Merriam. Cagney (as well as Jean Harlow) publicly refused to pay and Cagney even threatened that, if the studios took a day's pay for Merriam's campaign, he would give a week's pay to Upton Sinclair, Merriam's opponent in the race.


title: James Cagney

text: He supported political activist and labor leader Thomas Mooney's defense fund, but was repelled by the behavior of some of Mooney's supporters at a rally. Around the same time, he gave money for a Spanish Republican Army ambulance during the Spanish Civil War, which he put down to being "a soft touch". This donation enhanced his liberal reputation. He also became involved in a "liberal group...with a leftist slant," along with Ronald Reagan. However, when he and Reagan saw the direction the group was heading, they resigned on the same night.


title: James Cagney

text: Cagney was accused of being a communist sympathizer in 1934, and again in 1940. The accusation in 1934 stemmed from a letter police found from a local Communist official that alleged that Cagney would bring other Hollywood stars to meetings. Cagney denied this, and Lincoln Steffens, husband of the letter's writer, backed up this denial, asserting that the accusation stemmed solely from Cagney's donation to striking cotton workers in the San Joaquin Valley. William Cagney claimed this donation was the root of the charges in 1940. Cagney was cleared by U.S. Representative Martin Dies Jr. on the House Un-American Activities Committee.


title: James Cagney

text: Cagney became president of the Screen Actors Guild in 1942 for a two-year term. He took a role in the Guild's fight against the Mafia, which had begun to take an active interest in the movie industry. His wife, Billie Vernon, once received a phone call telling her that Cagney was dead. Cagney alleged that, having failed to scare off the Guild and him, they sent a hitman to kill him by dropping a heavy light onto his head. Upon hearing of the rumor of a hit, George Raft made a call, and the hit was supposedly canceled.


title: James Cagney

text: During World War II, Cagney raised money for war bonds by taking part in racing exhibitions at the Roosevelt Raceway and selling seats for the premiere of "Yankee Doodle Dandy". He also let the Army practice maneuvers at his Martha's Vineyard farm.


title: James Cagney

text: After the war, Cagney's politics started to change. He had worked on Democrat Franklin D. Roosevelt's presidential campaigns, including the 1940 presidential election against Wendell Willkie. However, by the time of the 1948 election, he had become disillusioned with Harry S. Truman, and voted for Thomas E. Dewey, his first non-Democratic vote. He would also support Ronald Reagan in the 1966 California gubernatorial election.


title: James Cagney

text: By 1980, Cagney was contributing financially to the Republican Party, supporting his friend Ronald Reagan's bid for the presidency in the 1980 election. As he got older, he became more and more conservative, referring to himself in his autobiography as "arch-conservative". He regarded his move away from liberal politics as "a totally natural reaction once I began to see undisciplined elements in our country stimulating a breakdown of our system... Those functionless creatures, the hippies ... just didn't appear out of a vacuum."


title: James Cagney

text: Cagney died of a heart attack at his Dutchess County farm in Stanford, New York, on Easter Sunday 1986; he was 86 years old. A funeral Mass was held at St. Francis de Sales Roman Catholic Church in Manhattan. The eulogy was delivered by his close friend, Ronald Reagan, who was also the President of the United States at the time. His pallbearers included boxer Floyd Patterson, dancer Mikhail Baryshnikov (who had hoped to play Cagney on Broadway), actor Ralph Bellamy, and director Miloš Forman. Governor Mario M. Cuomo and Mayor Edward I. Koch were also in attendance at the service.


title: James Cagney

text: Cagney was interred in a crypt in the Garden Mausoleum at Cemetery of the Gate of Heaven in Hawthorne, New York.


title: James Cagney

text: Cagney won the Academy Award in 1943 for his performance as George M. Cohan in "Yankee Doodle Dandy".


title: James Cagney

text: For his contributions to the film industry, Cagney was inducted into the Hollywood Walk of Fame in 1960 with a motion pictures star located at 6504 Hollywood Boulevard.


title: James Cagney

text: In 1974, Cagney received the American Film Institute's Life Achievement Award. Charlton Heston, in announcing that Cagney was to be honored, called him "...one of the most significant figures of a generation when American film was dominant, Cagney, that most American of actors, somehow communicated eloquently to audiences all over the world ...and to actors as well."


title: James Cagney

text: He received the Kennedy Center Honors in 1980, and a Career Achievement Award from the U.S. National Board of Review in 1981. In 1984, Ronald Reagan awarded him the Presidential Medal of Freedom.


title: James Cagney

text: Cagney was among the most favored actors for director Stanley Kubrick and actor Marlon Brando, and was considered by Orson Welles to be "maybe the greatest actor to ever appear in front of a camera." Warner Bros. arranged private screenings of Cagney films for Winston Churchill.


title: James Cagney

text: On May 19, 2015, a new musical celebrating Cagney, and dramatizing his relationship with Warner Bros., opened off-Broadway in New York City at the York Theatre. "Cagney, The Musical" then moved to the Westside Theatre until May 28, 2017.


title: Simon Sinek

text: Simon Oliver Sinek (born October 9, 1973) is an American author and inspirational speaker. He is the author of five books, including "Start With Why" (2009) and "The Infinite Game" (2019).


title: Simon Sinek

text: Sinek was born in Wimbledon, United Kingdom. Sinek’s mother, Susan, is Jewish and of Hungarian Jewish descent. As a child, he lived in Johannesburg, London, and Hong Kong before his family settled in the United States. He graduated from Northern Valley Regional High School at Demarest in 1991. He received a BA in cultural anthropology from Brandeis University. He studied law at London's City University, but left law school to go into advertising.


title: Simon Sinek

text: Sinek began his career at the New York ad agencies Euro RSCG and Ogilvy & Mather. He later launched his own business, Sinek Partners.


title: Simon Sinek

text: Sinek has written five books. "Start With Why", his first book, was published October 2009. His second book, titled "Leaders Eat Last", appeared on the bestseller lists of the "Wall Street Journal" and "The New York Times".


title: Simon Sinek

text: As a motivational speaker, Sinek has spoken at the UN Global Compact Leaders Summit in 2016, and at TEDx conferences several times, beginning in 2009.


title: Simon Sinek

text: In June 2018, "The Young Turks" reported a $98,000 no-bid contract from U.S. Immigration and Customs Enforcement (ICE) for "customized Simon Sinek leadership training" to take place between April 26 and May 15, 2018, provided by Ernst & Young.


title: Simon Sinek

text: In November 2018, "Publishers Weekly" reported that Sinek would start Optimism Press, a new imprint of Penguin Random House.


title: Simon Sinek

text: Sinek was an instructor of strategic communications at Columbia University, and is an adjunct staff member of the RAND Corporation.


title: Sake

text: Sake, also spelled saké ( ; also referred to as Japanese rice wine), is an alcoholic beverage of Japanese origin made by fermenting rice that has been polished to remove the bran. Despite the name "Japanese rice wine", sake, and indeed any East Asian rice wine (such as huangjiu and cheongju), is produced by a brewing process more akin to that of beer, where starch is converted into sugars which ferment into alcohol, whereas in wine, alcohol is produced by fermenting sugar that is naturally present in fruit, typically grapes.


title: Sake

text: The brewing process for sake differs from the process for beer, where the conversion from starch to sugar and then from sugar to alcohol occurs in two distinct steps. Like other rice wines, when sake is brewed, these conversions occur simultaneously. The alcohol content differs between sake, wine, and beer; while most beer contains 3–9% ABV, wine generally contains 9–16% ABV, and undiluted sake contains 18–20% ABV (although this is often lowered to about 15% by diluting with water before bottling).


title: Sake

text: In Japanese, the character (kanji: 酒, ) can refer to any alcoholic drink, while the beverage called sake in English is usually termed ' (; meaning 'Japanese alcoholic drink'). Under Japanese liquor laws, sake is labeled with the word ' (; 'refined alcohol'), a synonym not commonly used in conversation.


title: Sake

text: In Japan, where it is the national beverage, sake is often served with special ceremony, where it is gently warmed in a small earthenware or porcelain bottle and sipped from a small porcelain cup called a "sakazuki". As with wine, the recommended serving temperature of sake varies greatly by type.


title: Sake

text: Sake now enjoys an international reputation. Of the more than 800 "junmai ginjō-shu" evaluated by Robert Parker's team, 78 received a score of 90 or more ("eRobertParker"，2016).