title: USA Network

text: C-SPAN finally stopped sharing satellite space with USA on April 1, 1982, after having launched its own 24-hour feed two months earlier. USA began operating on a 24-hour schedule, programming its new daytime block with the British soap opera "Coronation Street", a health-oriented show named "Alive and Well", and an afternoon movie.


title: USA Network

text: In Fall 1982, the channel began running a mix of 1960s and 1970s Hanna-Barbera cartoons each weekday evening from 6:00 to 7:00 p.m. as part of the "USA Cartoon Express" block, with sports programming airing after 7:00 p.m., which were rebroadcast during the overnight hours. Weekends featured a mix of movies, some older drama series and talk shows during the morning hours, and sports during the afternoons and evenings. Overnights consisted of old low-budget films and film shorts, and music videos as part of a show called "Night Flight."


title: USA Network

text: Between 1984 and 1986, USA's programming focus began shifting away from sports, and shifted towards general entertainment programs not found on broadcast stations, including some less common network drama series and cartoons.


title: USA Network

text: For the 1985–1986 season, the channel had four hours of original and exclusive shows. One original series from the 1985–1986 season was the comedy "Check It Out!". USA, wanting to become the flagship cable channel and compete directly with the broadcast networks, committed to 26 half-hours of part exclusive off-broadcast network and part original programming for the 1986–1987 season at an increase of $30 million. In one case, the channel picked up "Airwolf" for 58 off-network episodes, while commissioning 24 new episodes without the original cast.


title: USA Network

text: One tradition on USA was an afternoon lineup of game show reruns mixed in with several original low-budget productions that aired over the years. It began in October 1984 with reruns of "The Gong Show" and "Make Me Laugh." In September 1985, the network began airing its first original game show, a revival of the mid-1970s game show "Jackpot;" two more original game shows, "Love Me, Love Me Not," and a revival of the short-lived 1980 series "Chain Reaction," were added in September 1986. More shows were progressively added soon afterward such as "The Joker's Wild," "Tic-Tac-Dough," "Press Your Luck," "High Rollers," and "Hollywood Squares" (with John Davidson as its "Square-Master", or host), along with "Wipeout," "Face the Music," and "Name That Tune." In June 1987, the channel debuted another original game show, "Bumper Stumpers." (All four USA original game shows in this era were taped in Canada.) When it began, the game-show block ran for an hour, but it expanded significantly the following year. By 1989, the network ran game shows Monday through Fridays from 12:00 to 5:00 p.m. eastern. USA also aired late night reruns of Procter & Gamble soap operas "The Edge Of Night" the ABC episodes only from August 5, 1985, to January 19, 1989 along with " Search For Tomorrow" the NBC episodes only years (1982-1985) from 1987 until the summer of 1989. In January 1989, USA debuted "USA Up All Night," a showcase of low-budget feature films that aired as part of its weekend overnight schedule. "Up All Night" became a cult favorite among viewers for the comedic wraparound segments that were usually shown during breaks leading into (and sometimes, out of) commercials and between films that were hosted by comedian Gilbert Gottfried and model/actress Rhonda Shear, the latter of whom had replaced original co-host Caroline Schlitt in 1991. Though this program was discontinued on March 7, 1998, late-night movie telecasts on USA continued to be branded under the "Up All Night" banner until 2002.


title: USA Network

text: Short news updates, branded as "USA Updates," were broadcast early on, from 1989 until 2000. These segments were first produced out of KYW-TV in Philadelphia, owing to the fact that the station had already produced a number of syndicated news services (including the Group W Newsfeed) and Steve Bell, the former newsreader on "Good Morning America," was employed as a primary anchor at the station. By 1993, production of USA Updates had been taken over by the All News Channel (operated as a joint venture of Hubbard Broadcasting's and Viacom's CONUS Communications); Bell had left KYW in 1992, when KYW's news operations were heavily revamped in response to falling ratings. Via the ANC connection, USA also aired the financial news program "First Business" (then produced by CONUS) at 6:30am weekday mornings for a time (the network had previously carried "Wall Street Journal"-produced financial news updates and a late-night report in the 1980s). The ANC-produced updates continued through 2000 (ANC was suffering heavily around this time due to competition with other cable news channels such as CNN and the then-similarly formatted Headline News, and ended up shutting down in 2002); USA Network has not carried any news programming since the news updates were removed.


title: USA Network

text: USA was the first basic cable channel to pre-empt the syndicated television market by purchasing a package of 26 films from Disney's Touchstone Pictures library in October 1989. To obtain the package, it spent an estimated $50 million to $60 million, with films including such box office hits as "Dead Poets Society," "Good Morning, Vietnam," and "Three Men and a Baby."


title: USA Network

text: The tradition of game show reruns continued into the 1990s with the "$25,000 and $100,000 Pyramids," the early 1990s revivals of "The Joker's Wild" and "Tic-Tac-Dough," and other well-known shows such as "Scrabble," "Sale of the Century," "Talk About," and "Caesars Challenge." Additionally, two more original game shows were added in June 1994; these were "Free 4 All" and "Quicksilver." In September 1991, the block was reduced to three hours, from 2:00 to 5:00 p.m. Eastern. However, an additional hour was added in March 1993. In November 1994, the game show block was cut back to only two hours, from 2:00 to 4:00 p.m.


title: USA Network

text: On September 24, 1992, USA launched a sister network, the Sci-Fi Channel (now Syfy), focusing on science fiction series and films.


title: USA Network

text: In January 1993, the channel began showing "WWF Monday Night Raw", which was the first major professional wrestling program to show storylines playing out in front of an audience. In September 1993, USA adopted a new on-air look centering on the slogan "The Remote Stops Here", with flat graphics suggesting a television camera's in-lens symbols and music consisting of electric guitar and synthesized noises, though the movie presentation openers were retained from the previous design.


title: USA Network

text: In 1994, Paramount Pictures parent Paramount Communications was sold to the original iteration of Viacom; the following year, MCA was acquired by Seagram. In April 1996, Viacom, which also owned MTV Networks, launched a new classic television network called TV Land. MCA subsequently sued Viacom for breach of contract, claiming that it had violated the non-compete clause in its joint venture agreement with MCA. A judge presiding over the case sided with MCA, and Viacom subsequently sold its stake in USA and the Sci-Fi Channel to Seagram for $1.7 billion. In turn, Seagram sold a controlling interest in the networks to Barry Diller-who was previously head of Paramount Pictures when the company owned part of the network in the early 1980s and who was also credited with putting together the 1981 agreement which resulted in joint Paramount-Time-MCA ownership of the network- in February 1998, which led to the creation of USA Networks, Inc.; the company also merged the cable channels with Diller's existing television properties including the Home Shopping Network and its broadcasting unit Silver King Broadcasting (which was restructured as USA Broadcasting, and eventually sold its stations to Univision Communications in 2001 to form the nucleus of Telefutura/UniMás).


title: USA Network

text: In July 1995, USA began simulcasting the upstart business news channel Bloomberg Information TV Monday thru Saturday from 5:00 to 7:00 a.m. Eastern; in 2004, the Bloomberg simulcast moved to E!, where it ran until 2007 (USA was actually the second television network to simulcast Bloomberg's programming, the now-defunct American Independent Network also carried a simulcast of the channel during the mid-1990s). Bloomberg purchased the airtime from USA. In October 1995, the network dropped the entire game show block; it was replaced with a block called "USA Live", which carried reruns of "Love Connection" and "The People's Court", with live hosted wraparound segments between shows; that block was dropped by 1997 (some of the game shows that USA had aired can still be seen on GSN and Buzzr).


title: USA Network

text: On June 17, 1996, the network unveiled a new on-air appearance, which included the introduction of a new logo (incorporating a star ridged into the "U" of the now-serifed "USA" logotype, replacing the Futura-typeface logo that had been in use since the network's start under the USA Network name in 1980), and a three-note jingle. Network IDs, feature presentation intros for movies and promo graphics were based around a behind-the-scenes look at the fictional "USA Studios"; some of the IDs showed people in the control room, while a studio that was being set-up by a crew was the backdrop for the "Tonight" menu that displayed the evening's schedule. Opening sequences leading into movie telecasts showed people running through the "USA Studios Film Vault". The new look coincided with a shift in focus, more towards off-network reruns and original programming; game shows and court shows were dropped from the schedule, while cartoons were phased out. USA Studios also became the branding for USA-produced programming at this point. This logo was replaced in July 1999 in favor of a 'USA flag'-styled logo (whose design was slightly modified in 2002).


title: USA Network

text: In September 1996, USA replaced the "USA Cartoon Express" with the action-oriented children's block, "USA Action Extreme Team"; the channel discontinued its animation block outright in September 1998 (other than airing the first-run teen sitcom "USA High" and reruns of "" from 1997 to 2001, USA has not aired children's programming since that time), and replaced it with a block called "USAM", which advertised itself as "Primetime Comedy in the Morning". The block mainly featured sitcoms originally aired on network television that were cancelled before making it to 100 episodes (such as "The Jeff Foxworthy Show", "Hearts Afire" and "Something So Right"); however, for a time, the block also included the 1989–1994 episodes of the Bob Saget run of "America's Funniest Home Videos". "USAM" was discontinued in 2002; by that point, the only sitcoms airing on USA were daytime and late night reruns of "Martin" and overnight airings of "Living Single", "Cheers" and "Wings", with drama series and movies populating much of the channel's daytime and primetime schedule.


title: USA Network

text: In 2000, USA Networks bought Canadian media company North American Television, Inc. (a joint partnership between the Canadian Broadcasting Corporation and Power Corporation of Canada), owner of cable television channels Trio and Newsworld International (the CBC continued to handle programming responsibilities for NWI until 2005, when eventual USA owner Vivendi sold the channel to a group led by Al Gore, who relaunched it as Current TV). One major shock happened when USA lost the broadcasting rights of the WWF to Viacom in June 2000; "Raw" (which had been retitled "Raw is War") was moved to TNN in September of that year.


title: USA Network

text: In May 2002, USA Networks sold its non-shopping television and film assets (including USA Network, the Sci-Fi Channel, Trio, USA Films (which was rechristened as Focus Features) and Studios USA) to Vivendi Universal. USA and the other channels were folded into Vivendi's Universal Television Group.


title: USA Network

text: In July 2002, the channel debuted "Monk", a comedy-drama police procedural that starred Tony Shalhoub as Adrian Monk, a former San Francisco police inspector-turned-consultant who suffers from various obsessive-compulsive behaviors that include the ability to pay attention to detail when solving crimes. It became one of USA Network's first breakout hit series, and ran for eight seasons until it ended on December 4, 2009.


title: USA Network

text: In 2003, General Electric agreed to merge NBC and its sibling companies with Vivendi Universal's North American-based filmed entertainment assets, including Universal Pictures and Universal Television Group in a multibillion-dollar purchase, renaming the merged company NBC Universal. GE retained an 80% ownership stake in the new company, while Vivendi retained a 20% stake. NBC Universal officially took over as owner of USA and its sibling cable channels (except for Newsworld International) in 2004. That year, USA premiered the sci-fi series "The 4400".


title: USA Network

text: In 2005, USA Network introduced a new logo and associated marketing campaign, "Characters Welcome". The slogan was designed to help emphasize the wide range of programming the network offered, and to help USA Network establish itself more prominently as a brand. The launch of the campaign featured promos themed around the daily lives of characters from the network's programs. To contrast itself from the "grittier" offerings of other mainstream cable networks, USA Network's original programming during this era was marked by a focus on comedic and "optimistic" action and drama series, referred to as a "blue sky" approach. Notable examples of this programming strategy included "Psych" (2006) (which ran for eight seasons, becoming the network's longest-running series), "Burn Notice" (2007), and "Royal Pains" (2009). In October 2005, "Raw" returned to USA after Viacom did not renew its broadcasting agreement with the WWE.


title: USA Network

text: On May 13, 2007 (in advance of NBC's 2007–08 fall upfronts presentation), NBC Universal announced that new episodes of "" would be moved to USA beginning with the drama's seventh season in the fall of 2007; episodes would then be re-aired later in the season on NBC, most likely to shore up any programming holes created by the cancellation of a failed new series. Although this is not the first time a broadcast series has moved to cable (USA had acquired first-run rights to the revival of "Alfred Hitchcock Presents" from NBC in 1987, while "The Paper Chase" had moved beforehand from CBS to Showtime in 1983), it marked the first time that a series which moved its first-run episodes from broadcast to cable television would continue to air episodes on a broadcast network while it was still a first-run program. On December 7, 2007, it was announced that USA Network would continue broadcasting first-run episodes of "Raw" through at least 2010.


title: USA Network

text: The June 1, 2008, premiere of "In Plain Sight", starring Mary McCormack, was USA's highest-rated series premiere since the 2006 debut of "Psych", with 5.3 million viewers. In early 2009, USA Network acquired the network television rights for 24 recent and upcoming Universal Pictures films, including "Duplicity", "Funny People", "Frost/Nixon", "Land of the Lost", "Milk", and "State of Play".


title: USA Network

text: In 2011, control and majority ownership of then-parent NBC Universal passed from General Electric to Comcast. Comcast would buy out GE's remaining ownership in NBCU two years later. USA Network was considered the key piece of the NBC-Comcast merger; Wunderlich Securities analyst Matthew Harrigan projected that USA contributed $9.5 billion to NBCUniversal's $44.8 billion value, with NBC contributing only $408 million. In 2014, the channel had dropped 18% in viewership and out of first place among the major cable channels. USA has been a key NBCUniversal asset accounting for one-third of advertising revenue for NBCUniversal Cable Entertainment Group and $1 billion in annual earnings over the past few years.


title: USA Network

text: In April 2016, USA Network unveiled a new branding campaign and slogan, "We the Bold". The campaign was designed to reflect the channel's current focus on "rich, captivating stories about unlikely heroes who defy the status quo, push boundaries and are willing to risk everything for what they believe in". USA had quietly discontinued the "Characters Welcome" tagline in the lead-up to the rebranding, whose associated programming shift was led by the premieres of "Mr. Robot" and "Colony". "Variety" reported that the new programming strategy was designed to appeal to themes of "authenticity, resiliency, bravery and innovation". The "Washington Post" felt that the re-branding symbolically marked the end of USA's "blue sky" era, as the channel had been increasingly producing more "intense" series with darker themes. NBCUniversal marketing executive Alexandra Shapiro explained that the "Characters Welcome" campaign and associated programming was reflective of the "weirdly optimistic" mood of the network's key demographic at the time.


title: USA Network

text: In August 2016, NBCUniversal acquired the television rights to the "Harry Potter" film franchise from 2018 through 2025, including the main film series and their spin-offs (with the first, "Fantastic Beasts and Where to Find Them", to have its cable premiere in 2019), and other content. On cable, the films are to primarily be aired by USA Network and Syfy, and the deal also includes the ability for Universal Parks & Resorts to offer "exclusive content and events" related to the franchise (Universal Parks had already been involved in "The Wizarding World of Harry Potter" attractions). The deal succeeded one with Freeform; "The Wall Street Journal" reported the deal was valued around $250 million over the length of the agreement, making it one of the highest-valued film franchise deals. To launch the new rights, Syfy and USA both aired "Harry Potter" marathons over the July 13–15, 2018 weekend, airing all eight films (including directors' cuts of the first six) with limited commercial interruption.


title: USA Network

text: Amid the growth of streaming services (including NBCUniversal's newly launched Peacock) and the decline of traditional cable television, USA Network began to cut back on scripted programming, in favor of reality shows, television events (including scripted miniseries), and live programming—the latter including WWE programs and sporting events. In 2020, the network cancelled "Dare Me", "The Purge", "The Sinner", and "Treadstone". With the announcement that NBCSN would shut down on December 31, 2021, it was subsequently revealed that USA and Peacock would collectively assume its remaining sports broadcasts.


title: USA Network

text: USA Network has achieved a viewership foothold with its original programming; this began in the 1990s with initial hits such as "Silk Stalkings", "Duckman" and "La Femme Nikita", which were gradually followed in the following two decades by series such as "Monk", "Psych", "Shooter", "White Collar", "Mr. Robot", "Suits", "Burn Notice" and "Royal Pains".


title: USA Network

text: In addition to its original productions, the network airs syndicated reruns of current and former network series such as "", "Chicago P.D.", "Law & Order: Criminal Intent" (which spent the final four seasons of its run as a first-run program on USA) and "NCIS". The network also broadcasts a variety of films from the Universal Pictures library and select films from other movie studios (such as Sony Pictures Entertainment, Paramount Pictures, Walt Disney Studios Motion Pictures and Warner Bros. Entertainment), airing primarily as part of its overnight and weekend schedule, and occasionally during primetime on nights when original programming or marathons of its acquired programs are not scheduled.


title: USA Network

text: From 1984 to 2016, the network was the longtime home of the Westminster Kennel Club Dog Show. USA is also the home of WWE's flagship cable program "Raw"; the series originally aired on the channel from its debut in January 1993 (when the promotion was known as the World Wrestling Federation; "Raw" itself replaced longtime Monday night standby "WWF Prime Time Wrestling") until the series moved to TNN in September 2000, before returning to the channel in October 2005. On January 7, 2016, WWE's second flagship program "SmackDown" moved to USA Network from Syfy. In 2018, USA renewed its rights to "Raw" for five additional years, but lost the rights for "SmackDown" to Fox beginning October 2019. In August 2019, WWE announced that its tertiary weekly program "WWE NXT" would return to USA Network on September 18, 2019, airing on Wednesday nights in a two-hour live format.


title: USA Network

text: USA Network has a longstanding history with sports, dating back to its existence as the Madison Square Garden Network. The network carried Major League Baseball games on Thursday nights from 1979 to 1983, and the "NHL on USA" ran from 1979 to 1985. "College Football on USA" ran from 1980 to 1986, and its telecast of the 1981 Liberty Bowl was the first college bowl game to be exclusively broadcast on cable television. The "NBA on USA" also aired from 1979 to 1984, the first time that the NBA had a cable television partner. Professional wrestling company WWE has had a longstanding relationship with the network; "WWF Prime Time Wrestling" broadcast on USA from 1985-1993 until it was superseded by "WWE Raw" from 1993 to 2000, and again since 2005. "WWE SmackDown" aired on the network from January 2016 until October 2019, when it moved to Fox. "WWE NXT" has also been airing here since October 2019.


title: USA Network

text: For 17 years from 1981 to 1998, USA aired a weekly boxing show, "USA Tuesday Night Fights", which showcased bouts featuring up-and-coming boxers. "Tennis on USA" aired professional tournaments in the United States from 1984 to 2008, and was the longtime cable home of the US Open before its cable television rights moved to ESPN2 and the Tennis Channel in 2009. The "PGA Tour on USA" covered the opening two rounds of the Masters Tournament from 1982 to 2007, Ryder Cup matches from 1989 to 2010, and various other events.


title: USA Network

text: The USA Network aired most games of the World League of American Football (later NFL Europe/EUropa) in its first two seasons of operation in 1991 and 1992; one innovation introduced for the network's WLAF telecasts was the in-helmet camera.


title: USA Network

text: Upon the 2004 purchase of Vivendi Universal by NBC, USA's sports division was immediately merged into NBC Sports. Since 2004, the network has broadcast select events from the Olympic Games, as part of an expansion of NBCUniversal's broadcast rights to the Summer and Winter Olympics that allowed several of the company's cable channels rights to telecast Olympic events live (some of which are later re-aired on tape delay on NBC as part of the network's primetime and late night Olympic coverage). USA Network also carried games from the International Ice Hockey Federation in 2006 and 2010.


title: USA Network

text: During the 2014 Winter Olympics, USA aired Premier League soccer matches in lieu of sister channel NBCSN, due to that channel's full devotion to carrying coverage of Olympic events. After ratings success with those matches, USA began to air mid-afternoon Saturday games weekly during the 2015–16 season. USA also participates in NBC Sports' broader effort of carrying all ten Survival Sunday matches across its numerous channels during the final matchday of the Premier League season. Starting in 2015, USA Network was similarly incorporated into NBC's coverage of the Stanley Cup Playoffs. In 2016, USA aired three NASCAR races as overflow during the 2016 Summer Olympics.


title: USA Network

text: In September 2020, a Notre Dame Fighting Irish football game was scheduled for USA Network due to NBC's commitments to the 2020 U.S. Open. Coverage of a primetime game against Clemson on November 7, 2020, was also briefly moved from NBC to USA Network due to NBC News coverage of a victory speech by president-elect Joe Biden.


title: USA Network

text: With the shutdown of NBCSN at the end of 2021, USA Network once again became the main cable outlet of NBC Sports in 2022, with sports properties such as the Premier League, NASCAR, and the Olympics (including U.S. Olympic trials) moving to USA at this time. The U.S. Open, U.S. Women's Open, The Open Championship, and the Women's Open would move their early-round telecasts from Golf Channel to USA beginning in 2022. USA Network also carried eight games as part of the inaugural season of the revived USFL.


title: USA Network

text: High-definition simulcasts of USA Network sports coverage, and reruns of original programs produced in the format, were originally carried by Universal HD. In 2007, USA Network launched a HD feed.


title: USA Network

text: In February 2007, Shaw Communications submitted an application to the Canadian Radio-television and Telecommunications Commission (CRTC), to carry the USA Network in Canada as a foreign service that would be eligible for carriage by domestic cable and satellite providers (and to automatically allow all English-language general interest cable networks from the United States into Canada). However, because of programming rights issues with other Canadian specialty channels, certain programs would be subjected to blackout restrictions, including "WWE Raw".


title: USA Network

text: In September 2007, the CRTC refused Shaw's request to carry USA Network in Canada on the basis that the channel carried too much programming that overlapped with the English language digital cable specialty channel Mystery TV (which is then owned by Canwest – later Shaw Media – and formerly, Groupe TVA). However, on September 20, the CRTC stated that it would reconsider their denial of the eligible foreign carriage proposal for USA Network at a later date, when Shaw instead offered to carry the channel on the digital cable tiers of its Shaw Cable systems. In spite of this, the CRTC has since rejected the restructured proposal on the basis that USA's programming would be competitive with Mystery TV.


title: USA Network

text: Many of USA's original programs currently air on either Showcase or CTV Drama Channel. WWE programming that airs on USA also airs on Rogers Media-owned Sportsnet 360.


title: USA Network

text: Regional versions of USA Network previously operated in certain South American countries (such as Argentina and Brazil); in September 2004, most of these services were renamed under the Universal Channel banner to take advantage of the more well-known brand, and to reduce the awkwardness of a channel branded with the initials of another nation.


title: One Day (2011 film)

text: One Day is a 2011 romantic drama film directed by Lone Scherfig from a screenplay by David Nicholls, based on Nicholls' 2009 novel of the same name. It stars Anne Hathaway and Jim Sturgess, with Patricia Clarkson, Ken Stott and Romola Garai in supporting roles. It was released in the United States on 19 August 2011 by Focus Features and in the United Kingdom on 24 August 2011 by Universal Pictures.


title: One Day (2011 film)

text: The film follows Dexter Mayhew and Emma Morley on the same day—15 July, St. Swithin's day—over 20 years. On 15 July 1988, after their graduation from the University of Edinburgh, Dexter and Emma spend a platonic night together and agree to “just be friends”.


title: One Day (2011 film)

text: One year later, Dexter helps Emma move to London to become a writer. Finding little success by 1990, she ends up a waitress in a Mexican restaurant, where she meets Ian, an aspiring comedian. Meanwhile, Dexter travels the world, staying in touch. He visits her on 15 July 1991 and suggests they take a holiday. They go to France in 1992; despite their mutual attraction, Emma turns down Dexter's advances. By 1993, Dexter is a successful television presenter with a raucous late-night show.


title: One Day (2011 film)

text: Dexter visits his parents on 15 July 1994 after his mother is diagnosed with terminal cancer. He arrives still under the influence from a night of heavy partying, infuriating his father. His mother is unimpressed with his wild lifestyle, and tells him he is not yet a nice person. That night, Emma goes on a date with Ian; despite their lack of chemistry, they begin a relationship.


title: One Day (2011 film)

text: By 1995, Emma is a school teacher and lives with Ian, but is increasingly irritated by his laziness. Dexter's new show makes him "the most annoying man on telly". Meeting Emma for dinner on 15 July 1996, Dexter gets high on cocaine, flirts with another woman, and insults Emma. She storms off and, deciding that they have outgrown each other, tells him that although she loves him, she no longer likes him.


title: One Day (2011 film)

text: Two years later, Dexter loses his television career, and by 1999, is in a serious relationship with Sylvie. Meanwhile, Emma has split up with Ian; he confronts her over their breakup and his jealousy of Dexter after reading her diary. Before leaving, he praises the stories in her diary and urges her to have them published. On 15 July 2000, Emma and Dexter attend the wedding of mutual friends. Dexter receives a job offer from Calum, his old roommate who has since become a multimillionaire. Emma tells Dexter she has received a book deal, and he reveals that he and Sylvie are to be married, as he will soon be a father. Dexter and Emma rekindle their friendship.


title: One Day (2011 film)

text: By 2001, Dexter is a devoted father to his daughter Jasmine, unaware Sylvie is having an affair with Calum, and Emma's book is published. Two years pass and Dexter, divorced, visits Emma, now a successful author living in Paris. Hopeful after a previous drunken tryst with Emma following his divorce, Dexter learns she has a new French boyfriend, and departs. Emma has second thoughts and chases after Dexter. They share a passionate kiss, and finally begin a relationship together.


title: One Day (2011 film)

text: Emma and Dexter are engaged by 2004 and eventually marry. Dexter opens a café in England, sharing custody of Jasmine, and he and Emma try, unsuccessfully, to have a child. On 15 July 2006, Emma is hit by a truck while riding her bicycle, and dies. Inconsolable, Dexter returns to his self-destructive habits. Over the years, he is comforted by Sylvie, by Jasmine, his widowed father, and even Ian, now happily married with children, who visits Dexter and tells him that Emma "lit up" around him, assuring him that "she made you decent… and you made her so happy".


title: One Day (2011 film)

text: On 15 July 2011, Dexter visits Arthur's Seat in Scotland with Jasmine. The film flashes back to 1988: after their night together, Dexter declines Emma's invitation to spend the day with her, but changes his mind. They climb Arthur's Seat and at the top, he suggests that instead of being casual friends, they “finish what they started” the previous night. Racing back to the flat, they encounter Dexter's parents on the street. Emma leaves, and Dexter first tells his parents she is just a friend, but chases after her to ask for her number. They kiss passionately, and promise to see each other again.


title: One Day (2011 film)

text: The film is a co-production between Random House Films and Focus Features. Film4 Productions is co-financing.


title: One Day (2011 film)

text: Actress Anne Hathaway said she was clandestinely given the script as the film was set in the United Kingdom and director Scherfig was not looking for any American actresses for the part. Hathaway flew to London for a meeting with Scherfig to explain why she should get the part. Hathaway later said it was "the worst meeting of my life... I was just inarticulate", but on leaving Hathaway wrote out a list of songs for Scherfig to listen to, saying, "I clearly didn't communicate to you what I needed to today. But I think these songs can do it for me." Scherfig did listen to them, which led to Hathaway getting the part.


title: One Day (2011 film)

text: Principal photography commenced in July 2010. Filming took place on location in Scotland, England and France. The production filmed in Edinburgh, the city where Dexter and Emma first meet, in August 2010. Various landmark locations, including Arthur's Seat, were used. Production then moved to London. Parliament Hill Lido in north London was used for scenes in which Emma, of varying ages, swims. Filming took place inside a house in Granville Road in Stroud Green for scenes involving Jim Sturgess and Romola Garai. Scenes in the shop and cafe were filmed at Leila's shop and cafe on Arnold Circus, close to Brick Lane in the East End. UK railway Station filming took place at Ridgmont Station on the Bedford to Bletchley Marston Vale Line. Filming in France took place in Dinan and Dinard, near Saint-Malo, in Brittany. A seaside club was turned into the Café Paradis, designed to ape Greek themes.


title: One Day (2011 film)

text: On Rotten Tomatoes the film has a 36% approval rating based on 145 reviews, with an average rating of 5.1/10. The site's consensus states: "Despite some fresh narrative twists, "One Day" lacks the emotion, depth, or insight of its bestselling source material". On Metacritic, it has a score of 48% based on reviews from 41 critics, indicating "mixed or average reviews". CinemaScore polls reported that the average grade moviegoers gave the film was a "B−" on an A+ to F scale.


title: One Day (2011 film)

text: Betsey Sharkey of the "Los Angeles Times" called it a "heartbreaking disappointment of a film" while Peter Howell of the "Toronto Star" said "Long before the credits roll, you may find yourself wishing your life could flash before your eyes, to end the monotony of this relentless turning of calendar pages." In contrast, Roger Ebert gave the film three stars out of four, saying, ""One Day" has style, freshness, and witty bantering dialogue." Anne Hathaway's Yorkshire accent in the role of Emma has been widely regarded as subpar. Newspaper columnist Suzanne Moore, reviewing the film on BBC Radio 4's "Front Row", said the accents were "all over the shop". Moore went on to say, "Sometimes she's from Scotland, sometimes she's from New York, you just can't tell".


title: The Dakota

text: The Dakota, also known as the Dakota Apartments, is a cooperative apartment building at 1 West 72nd Street on the Upper West Side of Manhattan in New York City, United States. The Dakota was constructed between 1880 and 1884 in the Renaissance Revival style and was designed by Henry Janeway Hardenbergh for businessman Edward Cabot Clark. The building was one of the first large developments on the Upper West Side and is the oldest remaining luxury apartment building in New York City. The building is a National Historic Landmark and has been designated a city landmark by the New York City Landmarks Preservation Commission. The building is also a contributing property to the Central Park West Historic District.


title: The Dakota

text: The Dakota occupies the western side of Central Park West between 72nd and 73rd Streets. It is largely square in plan and built around a central "I"-shaped courtyard, through which all apartments are accessed. Formerly, there was a garden to the west of the Dakota, underneath which was a mechanical plant serving the Dakota and some adjacent row houses. The facade is largely composed of brick with sandstone trim and terracotta detailing. The main entrance is a double-height archway on 72nd Street, which leads to the courtyard. The building's design includes deep roofs with dormers, terracotta spandrels and panels, niches, balconies, and balustrades. Each apartment at the Dakota had a unique layout with four to twenty rooms. The apartments were divided into quadrants, each of which had a stair and an elevator for tenants, as well as another stair and another elevator for servants.


title: The Dakota

text: Clark announced plans for an apartment complex at the site in 1879 and work began in late October 1880. The building was not given its name until mid-1882, and Clark died before the Dakota was completed in October 1884. The Dakota was fully rented upon its completion. The building was managed by the Clark family for eight decades and remained largely unchanged during that time. In 1961, the Dakota's residents bought the building from the Clark family and converted it into a housing cooperative. The Dakota has historically been home to many artists, actors, and musicians, including John Lennon, who was murdered outside the building in 1980.


title: The Dakota

text: The Dakota is at 1 West 72nd Street in the Upper West Side neighborhood of Manhattan in New York City. The building occupies the western sidewalk of Central Park West (formerly Eighth Avenue) between 72nd Street to the south and 73rd Street to the north. The Dakota occupies a nearly square land lot with an area of . The land lot has frontages of along Central Park West and along 72nd and 73rd Streets. Nearby locations include the Majestic apartment building immediately to the south, the Olcott Hotel to the west, the Langham apartment building to the north, and Central Park (including the Strawberry Fields memorial) to the east.


title: The Dakota

text: The Dakota is one of several apartment buildings on Central Park West that are primarily identified by an official name. Even though a street address was sufficient to identify these apartment buildings, this trend followed a British practice of giving names to buildings without addresses. By contrast, buildings on Fifth Avenue, along the eastern side of Central Park, are mainly known by their addresses. Unlike other large apartment buildings on Central Park West, the Dakota was not named after a previous building on the site. Christopher Gray of "The New York Times" described the Dakota as one of several apartment buildings that were famous enough "to maintain their names simply in common custom".


title: The Dakota

text: The Dakota's developer Edward Cabot Clark, who headed the Singer Manufacturing Company, selected the building's site based on several characteristics. The building is on the crest of the West Side plateau, which overlooks much of Manhattan. Additionally, 72nd Street is wide, making it one of several major crosstown streets in the Manhattan street grid. Clark also developed 27 row houses on 72nd and 73rd Streets, adjacent to the Dakota; they are no longer extant. The row houses were in the middle of the block, where land values were lower, whereas the Dakota was built on the more valuable site next to Central Park. Clark developed another set of row houses at 13–65 and 103–151 West 73rd Street, some of which still exist. All of these houses were designed by Hardenbergh.


title: The Dakota

text: Henry Janeway Hardenbergh designed the Dakota for Edward C. Clark between 1880 and 1884. The construction process involved several contractors including stonemason John L. Banta, plumber T. Brieu, iron supplier Post & McCord, carpenter J. L. Hamilton, stonework supplier J. Gillis Se Son and Henry Wilson, and woodwork contractor Pottier & Stymus. The design has been characterized as being in various architectural styles. Writers Sarah Bradford Landau and Carl W. Condit described the building as being built in a German Renaissance Revival style, but a contemporary source described the building's design as being patterned after "the period of Francis I". The building's design includes deep roofs with a profusion of dormers, terracotta spandrels and panels, niches, balconies, and balustrades. The designs of the dormers, roofs, and windows were influenced by the Northern Renaissance style.


title: The Dakota

text: The Dakota is a nine-story building; most of the building is seven stories high, although there are also two-story gables. Some contemporary sources described the building as being ten stories high, including the raised basement, while others classify the Dakota as being eight stories high. The Dakota measures tall and was the tallest building in the neighborhood when it was constructed. Due to the apartments' high ceilings, the Dakota's height was equivalent to that of a standard 15-story building.


title: The Dakota

text: The building is largely square in plan and built around a central "I"-shaped courtyard. The space measures long and up to wide. The courtyard provides entry to all apartments and doubles as a light court for the interiors of each apartment. A writer for the "American Architect and Building News" described the Dakota's courtyard and similar spaces in other buildings as "a safe, pleasant and sheltered place, under the eye of the Janitor, where tenants can enter, but thieves cannot...". The writer also suggested that children could play within the courtyard, but this was a minority view, since other observers believed such a usage attracted unsolicited attention. The apartments are accessed by four passageways, one from each corner of the courtyard. The main courtyard also functioned as a meeting area for residents, since the rest of the building was designed with "the utmost in personal privacy" as a consideration.


title: The Dakota

text: A glass breezeway ran along the western portion of the courtyard. This breezeway had been installed during the 1920s to protect residents from inclement weather. When the courtyard was rebuilt in 2004, the sidewalk under the breezeway was reconstructed with bluestone pavers that measure up to long and thick. The Dakota's courtyard originally contained two fountains, which doubled as skylights for the basement. Horse-drawn carriages, entering from 72nd Street, used the courtyard to turn around. After automobiles supplanted horse-drawn carriages, the Dakota banned automobiles from the courtyard because the space could not support the weight of modern vehicles. The deck of the courtyard was entirely replaced in 2004 because the steel beams that supported it had corroded severely. The modern courtyard is a reinforced-concrete slab, which is covered by granite pavers.


title: The Dakota

text: A service driveway also runs along the western side of the main courtyard. The driveway descended to the basement, where there was a lower courtyard with the same dimensions as the ground-level courtyard. This driveway was used to deliver goods and "commodities of housekeeping", as well as remove garbage and ashes. All servants entered and exited the Dakota through this driveway. The Dakota's distinct upper and lower courtyards differed from that of Hardenbergh and Clark's earlier Van Corlear apartment house at Seventh Avenue and 55th Street, where residents and servants used the same courtyard.


title: The Dakota

text: To the west of the Dakota was another garden, below which was the building's mechanical plant. Both the Dakota and the adjacent row houses were served by a mechanical plant below the garden. The decision to place the mechanical plant under a garden, rather than directly under the building, was a deliberate measure to reassure residents in case the machinery exploded. There were also tennis and croquet courts within the garden. Images show that the garden was surrounded by a fence, and the area above the mechanical plant was further enclosed by a hedge. The garden had become a parking lot by the 1950s, and the Mayfair was developed on the garden's site in 1964.


title: The Dakota

text: The building is surrounded by a recessed areaway, also described as a dry moat. The areaway was intended to increase residents' safety, as well as allow natural light and air to enter the basement. An entrance to the New York City Subway's 72nd Street station, served by the , is built within this areaway. A cast-iron fence separates the areaway from the sidewalk. The sidewalk was originally made of bluestone slabs.


title: The Dakota

text: Each elevation of the facade is divided vertically into bays. There are 11 bays on 72nd Street to the south and Central Park West to the east; 13 bays on 73rd Street to the north; and 17 bays to the west. The Dakota's raised basement is clad with sandstone. The remainder of the facade is made of buff brick, except on the west elevation, which is made of red brick; all of the brick is laid in common bond. The Dakota's use of soft-hued buff brick contrasted with the facade of the Van Corlear, which was a "harsh red". The facade also contains Nova Scotia sandstone trim and terracotta detailing. The materials and colors were selected to not only complement each other but also to soften the appearance of the building's shadows and massing. The large amount of ornament created the impression of variety between different parts of the facade. The west elevation, facing the former yard, was sparsely ornamented. The exterior walls function as load-bearing walls, which measure up to thick.


title: The Dakota

text: The building's main entrance is a double-height archway on 72nd Street to the south. It measures wide and tall. The archway is flanked by pedestals with metal urns, and there are three windows in the upper portion of the archway. There is also a security guard's booth to the west of the main entrance. After midnight, residents and visitors were required to ring the security guard to enter the building. Portraits of a man and woman (probably Edward C. Clark's partner Isaac Merritt Singer and Isaac's wife Isabella Boyer Singer) are placed above the doorway.


title: The Dakota

text: The 72nd Street entrance is a "porte-cochère" large enough for horse-drawn carriages to drop off passengers. Many of the horse-drawn carriages were dispatched from the now-demolished Dakota Stables at 75th Street and Amsterdam Avenue, developed by Edward C. Clark's son Alfred Corning Clark. Inside the archway is a groin-vaulted vestibule that leads to the courtyard. There are metal gates on either end of the vestibule. "Architectural Record" likened the 72nd Street entrance to a "fortress entry".


title: The Dakota

text: A "handsome doorway", measuring tall, also led from 73rd Street to the courtyard. The northern entrance on 73rd Street was seldom used except for funerals.


title: The Dakota

text: The 72nd Street elevation contain projecting turrets, which rise the entire height of the facade. A depiction of a Native American's head is carved on the facade. Above the second story is a horizontal band course made of terracotta. The band course is decorated with a diaper pattern. Above the sixth story is a stone cornice, which separates the seventh story and the roof from the rest of the facade. The cornice is supported by large brackets and is topped by an ornate metal balustrade. The building is topped by gables at each of its corners. The 72nd Street elevation also has a gable above the central entrance. On Central Park West, the central section of the roof is a hip roof. Originally, arched balconies connected the gables. The roof is covered with slate tiles, and dormer windows and corbeled brick chimneys protrude from the roof at multiple locations. The dormer windows are arranged in two to four levels and alternately contain either stone or copper frames.


title: The Dakota

text: The Dakota was designed as a fireproof structure. According to construction plans, the foundation walls were made of bluestone blocks, extended deep, and measured thick. The perimeter walls tapered in thickness from at the first story to above the sixth story. The superstructure includes rolled steel beams on each floor, spaced every and measuring deep. Between these rolled beams were brick or terracotta arches. The floor surfaces consist of earthen subfloors above 9-inch-thick slabs of concrete. Partitions in the hallways are made of "fireproof blocks", while partitions in other parts of the building are made of either "fireproof blocks" or brick. The thick walls, floor slabs, and partitions also provided noise insulation. The strength of the Dakota's superstructure rivaled that of contemporary office buildings.


title: The Dakota

text: The underground mechanical plant, to the west of the building, measured and contained electrical generators, steam boilers, and steam engines. The plant's roof was constructed of brick arches and iron beams, and the garden was planted above it. The generators became obsolete after the neighborhood was connected to the city's power grid, and the boilers and engines were relocated to the Dakota's basement. The steam plant in the basement, as well as the building's eight hydraulic elevators, were powered by water that was collected from the roof and from underneath each apartment's radiators. The radiators in each apartment were placed under the window sills.


title: The Dakota

text: The basement had a coal bunker with a capacity of . From the beginning, the building was equipped with "a complete system of electric communication", including electric bells that were used to request the elevators. There were 300 electric bells and 4,000 electric lights, all powered by the mechanical plant to the west of the building. The attic had six water tanks, each with a capacity of . The pumps could draw up to of water per day, and over of pipes delivered water to each apartment.


title: The Dakota

text: The passageways from the courtyard lead to ground-level spaces with wooden paneling and marble wainscoting. Between the first and second stories, the walls of the staircases are wainscoted with marble. The hallways on the upper stories are wainscoted in wood, while the ceilings and walls are made of plaster. Because the Dakota was one of the city's earliest luxury apartment buildings, the floor plans resembled those of traditional row houses. Consequently, the hallways were generally long and narrow at the Dakota, compared with later developments such as 998 Fifth Avenue. In any case, because the Dakota had four entrances with their own elevators and stairs, there were very few public hallways on the upper stories. This gave residents a feeling of privacy, since tenants were largely separated both from each other and from servants.


title: The Dakota

text: At each corner of the courtyard, four wrought-bronze staircases and four residents' elevators lead from the entrances to the upper stories. Each corner of the building has a brick shaft with one elevator and one staircase; this roughly divides the Dakota into quadrants. The tenants' staircases contained marble treads. The elevator cabs were manufactured by Otis Elevators and were finished in mahogany. In the original plans, each elevator served two apartments per floor. Each elevator served a small foyer on each floor that provided access to the two apartments. For each apartment, this provided the same amount of privacy as the entrances to typical brownstone row houses. In some cases, an elevator served only one apartment on a floor, so the elevator doors opened directly into that tenant's foyer.


title: The Dakota

text: In place of dumbwaiters, the building contains four service elevators and four iron staircases for servants. The service elevators and staircases are placed near the center of each side of the courtyard. Each service stair and elevator served two apartments per floor. The service elevators, among the first in the city, lead to the kitchens of the apartments. All of the elevators were originally hydraulic cabs with water tanks at the bottom.


title: The Dakota

text: Each of the Dakota's apartments had a unique layout and contained four to twenty rooms. The initial plans had called for six or eight apartments of about equal size on each of the seven lowest floors. As the building was being constructed, Clark changed the specifications to accommodate individual tenants, resulting in substantial changes to the formerly standardized floor layouts. "Look" magazine characterized the differing apartment layouts as a legacy of the "rugged individualism" that had been common when the Dakota opened. The Dakota's construction drawings are no longer extant, so the original arrangement of the apartments is known only from written descriptions. Many floor plans for individual apartments have been published over the years, and the Dakota's modern floor plans have been reconstructed based on these documents. Many of the original apartments have been subdivided over the years, though the Dakota's co-op board has endorsed numerous apartment renovations in which the original layouts were restored.


title: The Dakota

text: There were nearly 500 rooms in total. While most of the building contained fully-equipped apartments, with their own entrances and service elevators/stairs, part of the second floor was divided into smaller apartments and guest rooms. Apartments on the east side of the building (facing Central Park) generally had a reception area, a drawing room, a library, a kitchen, a pantry, a bath, four bedrooms, one full bathroom, and butlers' and maids' quarters. Some of the apartments also had balconies, which allowed apartment layouts to be further customized, while also blending in with the building's overall design. Clark's apartment on the sixth floor had 18 rooms, 17 fireplaces, and a drawing room that rivaled the design of the ground-floor dining room. The location of Clark's apartment was intended to attract tenants who were still accustomed to low-rise row houses. Parlors were generally . Ceiling heights ranged from at the first story to at the eighth story. The largest drawing room in the building was long and contained a classical fluted column instead of a partition.


title: The Dakota

text: Each apartment contained fixtures and materials that were similar to those in contemporary brownstone row houses. The kitchens and bathrooms contained modern fixtures, though other decorations such as moldings, woodwork, and floor surfaces were similar to those in many row houses. The parqueted floors are inlaid with mahogany, oak, and cherry, which are laid on top of the earthen subfloors and concrete slabs. Each apartment's dining rooms, reception rooms, and libraries were wainscoted in oak, mahogany, and other woods. The kitchens had marble wainscoting and Minton tile, while the bathrooms contained porcelain bathtubs. Other decorations included wood-burning fireplaces with tiled hearths; brass fixtures; and carved mirrors and mantels. Some apartments had plaster ceilings.


title: The Dakota

text: Residents customized their apartments to fit their needs and, in some cases, their occupations. A "Look" magazine article in the 1960s described interior designer and antique dealer Frederick P. Victoria as having decorated his apartment with wood "draperies" and antique clocks. Artist Giora Novak occupied a minimalist space within the building's former dining room, which he decorated with his own artwork, while interior designer Ward Bennett repurposed a servant's living area under the roof as a studio. Dancer Rudolf Nureyev placed classical paintings in his living room and theatrical artwork in other rooms. Some units have been substantially redesigned; for example, a four-bedroom unit was renovated in the modern style in the 2010s.


title: The Dakota

text: The Dakota's basement contained a laundry, storerooms, a kitchen, and the mechanical plant. The main section of the basement is directly under the courtyard and has an asphaltum floor. On one side of the basement were heated and illuminated storerooms in which tenants could store items for free. There was also a wine cellar, which was empty by the 1960s. The quarters of the house staff were in the basement and included bedrooms; bathrooms and dining rooms for men and women; and a smoking room and reading room for men. Residents could also order food from the basement kitchen to be delivered to their rooms. After World War II, the kitchen was closed and became a studio apartment for Giora Novak.


title: The Dakota

text: The building also had common spaces shared by all residents, including a dining room and a ballroom. The first floor contained the building's main dining room, as well as a smaller private dining room and a reception room. The floors were made of inlaid tiles of marble, while the walls had English oak wainscoting, above which were bronze bas-reliefs. The ceiling was also made of carved English oak. On one side of the dining room was a fireplace with a Scotch brownstone mantel, giving the room the quality of an "old English baronial hall". The original plans had called for the dining area to be accessible to the general public, but the plans were modified before the building opened, and the dining room only served residents. The Dakota also had a ladies' reception room with an artwork by the Misses Greatorex. There was a florist, a messengers' office, and a telegraph office for residents.


title: The Dakota

text: In addition to the Dakota's in-house staff, each tenant could employ up to five of their own servants on site. Servants employed by the residents, as well as visiting servants, occupied the eighth and ninth floors. The upper-story servants' quarters contained dormitories, bathrooms, laundry rooms, and dryer rooms. The servants' quarters had been converted into apartments by the 1950s. Beside servants' quarters, there was a playroom and a gymnasium on the roof, which was labeled as the "tenth story".


title: The Dakota

text: The construction of Central Park in the 1860s spurred construction in the Upper East Side of Manhattan, but similar development in the Upper West Side was slower to come. This was in part because of the West Side's steep topography and its dearth of attractions compared with the East Side. In the late 19th century, hundreds of empty lots were available along the west side of Central Park. Major developments on the West Side were erected after the Ninth Avenue elevated line opened in 1879, providing direct access to Lower Manhattan. A group of businessmen formed the West Side Association the same year. Edward C. Clark believed that the line's presence would encourage the growth of a middle-class neighborhood on the West Side. At a speech in December 1879, Clark told the West Side Association: "There are but few persons who are princely enough to wish to occupy an entire palace...but I believe there are many who would like to occupy a portion of a great building."


title: The Dakota

text: The modern-day Dakota Apartments was one of the first large developments on the Upper West Side, built at a time when large apartment blocks were still associated with tenement living. The Dakota is also New York City's oldest surviving luxury apartment building, although it was not the first such structure to be built in the city. Only a few large apartment houses in the city predated the Dakota, including the Manhattan Apartments (built in 1880) and Windermere Apartments (built in 1883). During the early 19th century, apartment developments in the city were generally associated with the working class, but by the late 19th century, apartments were also becoming desirable among the middle and upper classes. Between 1880 and 1885, more than ninety apartment buildings were developed in the city.


title: The Dakota

text: In 1879, Clark announced plans for an apartment complex at the intersection of 72nd Street and Eighth Avenue (the latter of which was renamed Central Park West in 1883). At the time, the vast majority of development on Manhattan Island was south of 23rd Street. Hardenbergh filed plans for an eight-story "Family Hotel" at the site in September 1880, at which point it was planned to cost one million dollars. Hardenbergh simultaneously designed several dozen low-rise row houses for Clark on 73rd Street. The row houses and the large apartment building were part of a larger plan that Clark had for the Upper West Side. John Banta was hired as the apartment house's general contractor. In early October 1880, about two weeks before construction began, the "Real Estate Record and Guide" reported that the building was to be a "residential hotel" with between 40 and 50 suites, each with five to twenty rooms.


title: The Dakota

text: Construction commenced at the end of October 1880. The building initially did not have a name, even after the foundations were completed in early 1881. By that October, the building had been constructed to the second story, although the "Real Estate Record" wrote that "it is hardly to be expected that it will be under roof before the winter sets in". As part of the project, Clark also excavated an Artesian well measuring about deep and wide. Work was slightly delayed by a labor strike in March 1882. The exterior walls were up to the sixth story by that May, and the builders estimated that the edifice would be completed in 18 months.


title: The Dakota

text: The building was renamed the "Dakota" by June 1882. One story claims that the name arose from the building's remoteness from the more populous parts of Manhattan, just as the Dakota Territory was considered remote. Though the Clark family never denied this story, its veracity is disputed, as contemporary publications did not discuss the building's remoteness. The earliest recorded appearance of this claim was in 1933, when the Dakota's longtime manager told the "New York Herald Tribune": "Probably it was called 'Dakota' because it was so far west and so far north". The more likely origin for the "Dakota" name was Clark's fondness for the names of the then-new western states and territories. Back in 1879, Clark had proposed naming the Upper West Side's north-south avenues after states or territories in the Western United States, though his suggestions had been ignored. The Dakota's remoteness did directly give rise to the nickname "Clark's Folly".


title: The Dakota

text: Clark died in 1883 and bequeathed the apartment complex to his oldest grandson, Edward Severin Clark, who at the time was 12 years old. After Edward C. Clark's death, Hardenbergh never designed another building for the Clark family; their final collaboration, the Ontiora at Seventh Avenue and 55th Street, was similar in design to the Dakota. Work on the Dakota was delayed in August 1883 when the plasterers went on strike to protest the employment of non-union laborers at the site. Other tradesmen joined the strike but returned to work within a month. The mechanical equipment was being installed in the building by March 1884. The "Real Estate Record" said the next month: "The 'Dakota' is at last near completion and is receiving its finishing touches prior to its opening in May, when it will be quite ready for dwelling purposes." In September 1884, the "Real Estate Record" reported that the Dakota "will be ready for occupancy October 1" at a yearly rent of $1,500 to $5,000 and that one-quarter of the units had already been rented.


title: The Dakota

text: The Dakota was completed by October 27, 1884, and was fully rented upon its completion. According to historical records collated by historian Andrew Alpern, the Dakota's earliest residents were active in a variety of industries. The residents included lawyers, brokers, merchants, and clothiers, although they also included a cigar merchant, a coal-mine operator, and a stenographer. All of the Dakota's residents were wealthy, although not particularly famous. None of the early residents were included in the "Four Hundred", a list of prominent individuals in New York society during the Gilded Age. The Dakota was followed by the Osborne, a large apartment building on 57th Street, in 1885; a law restricting the height of large apartment houses in New York City passed the same year.


title: The Dakota

text: The Dakota's address was originally 301 West 72nd Street, since the address numbers of buildings on Manhattan's west–east numbered streets were based on the building's distances from Fifth Avenue. In 1886, house numbers on the Upper West Side were renumbered based on distance from Central Park West (Eighth Avenue), so the Dakota became 1 West 72nd Street. In its first two years, the Dakota was not profitable. Even in 1890, the row houses on the same block were bringing more income than was the Dakota. By the early 1890s, there was a waiting list for vacant apartments.


title: The Dakota

text: According to the New York City Landmarks Preservation Commission (LPC), the Dakota, along with the American Museum of Natural History several blocks north, helped establish the "early character" of Central Park West. The Dakota's completion spurred the construction of other large apartment buildings in the area, several of which were named after regions in the western United States. Nonetheless, the Dakota remained the only large apartment building in the neighborhood until the end of the 19th century. A major reason was the lack of electricity in the area, since large apartment buildings needed electricity for their elevators, but the city did not install electric ducts along Central Park West until 1896. The Dakota had its own power plant, so the lack of municipal electric service did not affect the building.


title: The Dakota

text: The Clarks tried to sell off an adjacent plot to the north, between 73rd and 74th Streets, in 1902 with the proviso that no building on that site be taller than the Dakota. The Clarks were unable to sell the plot with that restriction, and the Langham apartment building was erected on the site. Images show that, in the first decades of the 20th century, some dormer windows were added on the roof of the building. Through the early 20th century, the Clark family retained ownership of the Dakota. A "New York Herald Tribune" article in 1929 noted that the Clarks have "for years resisted all attempts at purchase". "The New York Times" wrote in the 1920s that the Dakota "has always maintained its old-time popularity". Whereas the Dakota underwent few alterations in its first fifty years, the neighborhood changed dramatically during that period. The Dakota's main entrance on 72nd Street originally faced some shacks and gardens, but the high-rise Majestic Apartments overlooked the main entrance by the early 1930s.


title: The Dakota

text: Edward S. Clark died in 1933, just before the Dakota's 50th anniversary, and his brother Stephen Severin Clark took over the building's operation. Stephen Clark intended to continue operating the Dakota and preserve the garden to the west. At the time, two of the tenants had lived there since its opening, and four of the other original tenants had died in the preceding three years. For the next three decades, the Dakota remained largely unchanged, and the building even retained its original elevators. The Clarks were responsible for all repairs and maintenance and were subject to little, if any scrutiny.


title: The Dakota

text: By the 1950s, the servants' quarters on the upper stories had been converted to apartments. At the time, many tenants were diplomats, theatrical figures, or publishers. The building particularly appealed to theatrical figures because of its proximity to the Broadway Theater District, which was also on the West Side. There was also a long waiting list of potential tenants, and apartments rented for a relatively low $6,000 to $7,000 per year. Some tenants, most of whom were friends of Stephen Clark, did not pay rent at all. Residents tended to live in the building for several decades, leading "The New York Times" to observe: "It is reported that no Dakotan leaves the building permanently unless it is feet first".


title: The Dakota

text: In January 1961, the Glickman Corporation paid $4.6 million for the Dakota and an adjoining lot that contained the building's boiler room. Glickman planned to build New York City's largest apartment building on the site. The residents announced plans to buy the building from the Glickman Corporation in April 1961 for $4.8 million. Glickman dropped its plans to redevelop the Dakota and instead sold the adjacent site in August. That November, the Dakota's tenants bought the building, which became a cooperative. The Mayfair was completed on the adjacent site in 1964; according to "The New York Times", no plans were ever filed for a larger building on the Dakota's site. Under the co-op arrangement, the residents were obligated to share all maintenance and repair costs, which the Clark family had previously handled. The Dakota was one of twelve apartment buildings on Central Park West to be converted into housing cooperatives in the late 1950s and early 1960s. By the mid-1960s, members of the co-op had to pay carrying charges of up to $14,400 a year, in addition to a maximum down payment of $60,000 on their apartments. At the time, the building employed about 30 staff.


title: The Dakota

text: The Dakota's board of directors announced in 1974 that the roof would need to be replaced, since the slate tiles had started to fall off and the copper trim had deteriorated. Since the building had been designated a New York City landmark five years prior, the New York City Landmarks Preservation Commission (LPC) had to review every proposed modification to the exterior. The LPC hired experts who determined that a full restoration would cost $1 million, which amounted to an additional $10,000 assessment for each of the Dakota's 95 tenants. The board of directors decided to instead conduct a smaller-scale renovation. The Joseph K. Blum Company added waterproofing to the Dakota's roof for $160,000. The Dakota's board also voted in 1975 to ban the installation of air conditioners that protruded through the building's facade, since the LPC would have to approve every air conditioner that was installed.


title: The Dakota

text: The Dakota gained attention when one of its residents, musician John Lennon, was shot dead outside the building on December 8, 1980. According to the "Chicago Tribune", the Dakota became a makeshift memorial for Lennon, especially among fans of his rock band The Beatles. The murder also prompted concern among residents, who demanded more stringent security; all visitors were already required to pass through the security booth on 72nd Street. Years after Lennon's death, the Dakota's residents tended to eschew publicity. The Dakota's board had rejected numerous high-profile personalities who had wanted to move into the building. By then, there were 93 apartments, and the original floor plans had been rearranged extensively. Residents generally continued to live in the building for prolonged periods, and maintenance costs continued to increase. The areaway around the Dakota was restored in the mid-1980s, and architectural firm Glass & Glass began drawing up plans for a full restoration of the building. By the late 1980s, people in the financial industry comprised an increasing proportion of the Dakota's residents; previously, many residents had worked in the arts.


title: The Dakota

text: By 1992, the Dakota's facade was again being cleaned. New mortar had been applied to the brickwork in the facade, but the light color of the mortar contrasted sharply with the darkened bricks. The Dakota's board decided to repair the most deteriorated bricks rather than replace the whole facade. The project was budgeted using unit pricing, since it was impossible to know how many bricks needed to be repaired until the entire facade had been examined. The repairs ultimately cost $5 million, amounting to an average assessment of $50,000 for each tenant. The LPC gave craftsmanship awards to the restoration architects, Ehrenkrantz & Eckstut Architects and Remco, in 1994. The fireplaces were also restored in the late 1990s or early 2000s, requiring some of the fireplace flues to be replaced.


title: The Dakota

text: Because the Dakota had fewer apartments than nearby co-ops, maintenance expenses tended to be much higher. For instance, Lennon's widow Yoko Ono paid a monthly fee of $12,566 for her apartment in 1996, while a similarly-sized apartment at the nearby San Remo had a monthly maintenance cost of $6,000. The Dakota's board announced in 2002 that it planned to restore the interior courtyard, and it hired Higgins & Quasebarth as a consulting architect. At the time, the courtyard was leaking badly, and the breezeway on the western side of the courtyard was "practically held up by paint". The LPC approved all aspects of the planned renovation. Some residents wanted the glass breezeway in the courtyard to be removed, citing aesthetic concerns; preservationists said the general public would have not been able to see the breezeway anyway, since security had been tightened after Lennon's murder. The restoration of the courtyard started in February 2004 and was completed seven and a half months later.


title: The Dakota

text: Even in the early 21st century, there was high demand for units at the Dakota. The Dakota had 85 co-op units by the 2010s. Some of the smaller apartments had been combined over the years, and several units were restored to their original layouts. The building's facade was again renovated starting in 2015. The project was completed two years later for $32 million.


title: The Dakota

text: According to a 1996 article in "New York" magazine, many brokers classified the Dakota as one of five top-tier apartment buildings on Central Park West, largely because of its residents, large scale, and "historical prestige". The others were 88 Central Park West, 101 Central Park West, the San Remo, and the Beresford. Notable residents of the Dakota have included:


title: The Dakota

text: As at other luxury apartment buildings in New York City, some of the Dakota's residents use their units as pieds-a-terre rather than as their primary residences. The Dakota's co-op board, which decides whether to allow prospective tenants, has a reputation for selectivity. In 2011, "The Wall Street Journal" characterized the board as having "high standards and aversion to notoriety". A CNBC report in 2012 noted that one set of prospective tenants had to pay several thousand dollars for a background check, as well as submit several years' worth of financial and tax documents, and that even these measures did not guarantee that the tenants would be accepted.


title: The Dakota

text: The Dakota's board maintains a set of house rules for residents and their guests; in 2011, "The New York Times" characterized several of the rules as appearing "like they could have been drafted when the building opened". For example, "domestic employees, messengers and trades people" are required to use the service elevators, and healthcare and childcare providers must be accompanied by clients when they use the passenger elevators. Other rules include a restriction against leaving more than one car unattended in the driveway; a prohibition on "dance, vocal or instrumental instruction" in apartments; and a restriction on playing musical instruments or using a phonograph, radio, or TV loudspeaker between 11 p.m. and 9 a.m. Residents cannot throw away their apartments' original fireplace mantels or doors and must instead put them in a storage area in the basement.


title: The Dakota

text: On numerous occasions, the board has refused to allow high-profile personalities to move into the building, including musicians Gene Simmons, Billy Joel, and Carly Simon, as well as performers Madonna and Cher, baseball player Alex Rodriguez, and comedian Judd Apatow. In 2002, the board rejected corrugated cardboard magnate Dennis Mehiel; he was only allowed to move into the building 20 years later. Another prospective tenant sued the Dakota's board in 2015 after the board prohibited him from moving into a unit he had bought 16 years prior.


title: The Dakota

text: Although the Dakota has historically been home to many creative or artistic people, the building and its co-op board of directors were criticized in 2005 by former resident Albert Maysles, who had unsuccessfully tried to sell his unit to Melanie Griffith and Antonio Banderas. Maysles told "The New York Times": "What's so shocking is that the building is losing its touch with interesting people. More and more, they're moving away from creative people and going toward people who just have the money." Investor and resident Buddy Fletcher filed a lawsuit in 2011, claiming that the board had made racist remarks against would-be residents on numerous occasions, but a New York state judge dismissed Fletcher's suit in 2015.


title: The Dakota

text: Before The Dakota was completed, architectural critic Montgomery Schuyler was skeptical of the building's potential, saying: "At present, it is too isolated to come to anything like an immediate favor with the wealthy classes..." By the time the Dakota opened, it was widely acclaimed. The "New York Daily Graphic" wrote that the building was "one of the most perfect apartment houses in the world". The "Real Estate Record and Guide" wrote in 1884: "The owners have been fortunate in their architect, and Mr. Hardenbergh has been fortunate in his clients." Two years later, H. W. Fabian referred to the Dakota as the "most excellent of any of the kind in New York", and M. G. Van Renneslaer said the Dakota was the only apartment building she had ever seen that "merits praise". Schuyler, reappraising the building in 1896, said: "The architectural results were so successful that it is a very considerable distinction to have designed the best apartment house in New York." "Architectural Record" even spoke critically of the building's high quality, saying in 1902 that the fact that the Dakota was the best-designed apartment house along Central Park West "is not especially encouraging as an architectural sign of the times".


title: The Dakota

text: Praise for the building continued in later years. In a 1932 "New Yorker" article, the Dakota was described as being "as close to organic architecture as its most up-to-date neighbor: that is, they are both about fifty years away from the real thing". On the Dakota's 50th anniversary, the "New York Herald Tribune" described the building as standing "firmly on its unimpeachable foundations; somewhat shorter than its neighbors but immeasurably more impressive". A "New York Times" article in 1959 described the Dakota's design as ranging "Victorian Kremlin" to "Middle Eastern Post Office", while "Look" magazine called the building a "maze of imaginative, distinctive living". Architect Robert A. M. Stern wrote in 1999: "The Dakota was an undisputed masterpiece, far and away the grandest apartment house of the Gilded Age in New York and rivaling, if not exceeding, in logic and luxury any comparable building in Paris and London". Christopher Gray said in 2006 that "The Dakota remains Mount Olympus in the mythology of New York apartment houses, its baronial majesty the gauge by which all others must be judged." "The Wall Street Journal" referred to the Beresford, the Dakota, and the San Remo as the "three grand dames of the West Side".


title: The Dakota

text: Some critics also made commentary about specific architectural elements of the Dakota. The "Real Estate Record and Guide" dubbed the dining suite as "the handsomest dining room in Manhattan". "American Architect and Architecture" wrote: "the court-yard is symmetrically and handsomely shaped". "American Architect" had only one complaint: "The service-entrances to the suites are situated upon the same court-yard, so that grocers' wagons and ice-carts are almost always to be seen standing about in the space which should be reserved exclusively for more fashionable equipages, and for the promenades of the tenants of the house." Hardenbergh, who remained involved in his designs after their completion, wrote a letter objecting to "American Architect" characterization of the courtyard.


title: The Dakota

text: After the Dakota was completed, ornamental-iron contractor Hecla Iron Works published advertisements of the building in "Architectural Record". Since then, the building and its inhabitants have been detailed in numerous periodicals, including "Look" and "Architectural Forum". Illustrations of the building appeared on several magazine covers, including the July 12, 1982, issue of "The New Yorker" magazine and the 1979 Christmas catalog for Brentano's bookstore. Numerous replicas of the building have been created, including a model at Legoland Florida, as well as merchandise such as tissue boxes.


title: The Dakota

text: The Dakota's history is detailed in at least two books. Stephen Birmingham's book "Life at the Dakota" was published in 1979, while historian Andrew Alpern's book "The Dakota: A History of the World’s Best-Known Apartment Building" was published in 2015. Nonetheless, relatively little scholarly material about the Dakota has been published. According to Wilbur Ross, a former president of the Dakota's board, a planned "centennial art book" about the building was canceled in 1984 because the Dakota was so poorly documented. The Dakota has also appeared in several popular media works, including Roman Polanski's 1968 film "Rosemary's Baby". The "Chicago Tribune" wrote that the "building's grim presence was introduced to most Americans" in that film. The building was also depicted in Jack Finney's 1970 novel "Time and Again".


title: The Dakota

text: The New York City Landmarks Preservation Commission designated the Dakota as a New York City landmark in February 1969. The Dakota was also added to the National Register of Historic Places (NRHP) in 1972 and was re-added to the NRHP as a National Historic Landmark in 1976. The Dakota is also part of the Central Park West Historic District, which was designated as an NRHP district in 1982, as well as the Upper West Side Historic District, which became a New York City historic district in 1990.


title: MasterChef (American season 11)

text: The eleventh season of the American competitive reality television series "MasterChef" (also known as "MasterChef: Legends") premiered on Fox on June 2, 2021, and concluded on September 15, 2021. Gordon Ramsay, Aarón Sánchez, and Joe Bastianich all returned as judges. The season was won by physical therapist Kelsey Murphy, with bartender Autumn Moretti and food blogger Suu Khin finishing as co-runners-up.


title: MasterChef (American season 11)

text: In July 2020, it was reported that the first half of an eleventh season had been filmed, with production shutting down in March due to the COVID-19 pandemic. Production on the season resumed on October 26, 2020. On April 7, 2021, it was announced that the season would premiere on June 2, 2021 and would feature culinary legend guests.


title: Imhotep

text: Imhotep (; "(the one who) comes in peace"; fl. late 27th century BCE) was an Egyptian chancellor to the Pharaoh Djoser, possible architect of Djoser's step pyramid, and high priest of the sun god Ra at Heliopolis. Very little is known of Imhotep as a historical figure, but in the 3,000 years following his death, he was gradually glorified and deified.


title: Imhotep

text: Traditions from long after Imhotep's death treated him as a great author of wisdom texts and especially as a physician. No text from his lifetime mentions these capacities and no text mentions his name in the first 1,200 years following his death. Apart from the three short contemporary inscriptions that establish him as chancellor to the Pharaoh, the first text to reference Imhotep dates to the time of Amenhotep III (). It is addressed to the owner of a tomb, and reads:


title: Imhotep

text: It appears that this libation to Imhotep was done regularly, as they are attested on papyri associated with statues of Imhotep until the Late Period (). Wildung (1977) explains the origin of this cult as a slow evolution of intellectuals' memory of Imhotep, from his death onward. Gardiner finds the cult of Imhotep during the New Kingdom () sufficiently distinct from the usual offerings made to other commoners that the epithet "demigod" is likely justified to describe his veneration.


title: Imhotep

text: The first references to the healing abilities of Imhotep occur from the Thirtieth Dynasty () onward, some 2,200 years after his death.


title: Imhotep

text: Imhotep is among the few non-royal Egyptians who were deified after their deaths, and until the 21st century, he was one of nearly a dozen non-royals to achieve this status. The center of his cult was in Memphis. The location of his tomb remains unknown, despite efforts to find it. The consensus is that it is hidden somewhere at Saqqara.


title: Imhotep

text: Imhotep's historicity is confirmed by two contemporary inscriptions made during his lifetime on the base or pedestal of one of Djoser's statues and also by a graffito on the enclosure wall surrounding Sekhemkhet's unfinished step pyramid. The latter inscription suggests that Imhotep outlived Djoser by a few years and went on to serve in the construction of Pharaoh Sekhemkhet's pyramid, which was abandoned due to this ruler's brief reign.


title: Imhotep

text: Imhotep was one of the chief officials of the Pharaoh Djoser. Concurring with much later legends, egyptologists credit him with the design and construction of the Pyramid of Djoser, a step pyramid at Saqqara built during the 3rd Dynasty. He may also have been responsible for the first known use of stone columns to support a building. Despite these later attestations, the pharaonic Egyptians themselves never credited Imhotep as the designer of the stepped pyramid, nor with the invention of stone architecture.


title: Imhotep

text: Two thousand years after his death, Imhotep's status had risen to that of a god of medicine and healing. Eventually, Imhotep was equated with Thoth, the god of architecture, mathematics, and medicine, and patron of scribes: Imhotep's cult was merged with that of his own former tutelary god.


title: Imhotep

text: He was revered in the region of Thebes as the "brother" of Amenhotep, son of Hapu – another deified architect – in the temples dedicated to Thoth. Because of his association with health, the Greeks equated Imhotep with Asklepios, their own god of health who also was a deified mortal.


title: Imhotep

text: According to myth, Imhotep's mother was a mortal named Kheredu-ankh, she too being eventually revered as a demi-goddess as the daughter of Banebdjedet. Alternatively, since Imhotep was known as the "Son of Ptah", his mother was sometimes claimed to be Sekhmet, the patron of Upper Egypt whose consort was Ptah.


title: Imhotep

text: The Upper Egyptian Famine Stela, which dates from the Ptolemaic period (305–30 BCE), bears an inscription containing a legend about a famine lasting seven years during the reign of Djoser. Imhotep is credited with having been instrumental in ending it. One of his priests explained the connection between the god Khnum and the rise of the Nile to the Pharaoh, who then had a dream in which the Nile god spoke to him, promising to end the drought.


title: Imhotep

text: A demotic papyrus from the temple of Tebtunis, dating to the 2nd century CE, preserves a long story about Imhotep. The Pharaoh Djoser plays a prominent role in the story, which also mentions Imhotep's family; his father the god Ptah, his mother Khereduankh, and his younger sister Renpetneferet. At one point Djoser desires Renpetneferet, and Imhotep disguises himself and tries to rescue her. The text also refers to the royal tomb of Djoser. Part of the legend includes an anachronistic battle between the Old Kingdom and the Assyrian armies where Imhotep fights an Assyrian sorceress in a duel of magic.


title: Imhotep

text: As an instigator of Egyptian culture, Imhotep's idealized image lasted well into the Roman period. In the Ptolemaic period, the Egyptian priest and historian Manetho credited him with inventing the method of a stone-dressed building during Djoser's reign, though he was not the first to actually build with stone. Stone walling, flooring, lintels, and jambs had appeared sporadically during the Archaic Period, though it is true that a building of the size of the step pyramid made entirely out of stone had never before been constructed. Before Djoser, Pharaohs were buried in mastaba tombs.


title: Imhotep

text: Egyptologist James Peter Allen states that "The Greeks equated him with their own god of medicine, Asklepios, although ironically there is no evidence that Imhotep himself was a physician."


title: Imhotep

text: Imhotep is the antagonistic title character of Universal's 1932 film "The Mummy" and its 1999 remake, along with a sequel to the remake. This Imhotep has little, if any, connection to the historical figure.


title: Imhotep

text: Imhotep was also portrayed in the television show "Stargate SG1" as being a false god and an alien known as a Goa’uld.


title: Tzatziki

text: Tzatziki (), also known as tarator or cacık (), is a dip, soup, or sauce found in the cuisines of Southeast Europe and the Middle East. It is made of salted strained yogurt or diluted yogurt mixed with cucumbers, garlic, salt, olive oil, sometimes with vinegar or lemon juice, and herbs such as dill, mint, parsley and thyme. It is served as a cold appetizer ("mezze"), a side dish, and as a sauce for souvlaki and gyros sandwiches and other foods.


title: Tzatziki

text: "Tarator" was the name of a dish made of ground walnuts and vinegar in the Ottoman Empire. Dishes of various preparations in the region, including dips, salads, and sauces, acquired the name. In the Levant, "taratur" is a sauce based on tahini, while in Turkey and the Balkans it came to mean a combination of yogurt and cucumbers, sometimes with walnuts. It has become a traditional part of meze.


title: Tzatziki

text: The word "tzatziki" appeared in English around the mid-20th century as a loanword from Modern Greek (), which in turn comes from the Turkish word . The root is likely related to several words in Western Asian languages. Persian "" () refers to various herbs used for cooking. That word is combined with the Turkish diminutive suffix "-cık" to yield "cacık". It may be related to an Armenian word, "cacıg". According to Sevan Nişanyan the Armenian word may itself come from Turkish or Kurdish.


title: Tzatziki

text: Evliya Çelebi's 17th-century travelogue, the "Seyahatnâme", defined "cacıχ" ("cacıg") as a kind of herb that is added to food. The modern sense is documented as early as 1876, as a herb salad with yogurt.


title: Tzatziki

text: The form "tarator" found in languages from the Balkans to the Levant appears to be of Slavic origin, coming from Bulgaria.


title: Tzatziki

text: Greek-style tzatziki sauce is commonly served as a meze, to be eaten with bread, fried eggplant, or zucchini.


title: Tzatziki

text: Tzatziki is made of strained yogurt (usually from sheep or goat milk) mixed with cucumbers, garlic, salt, olive oil, and sometimes lemon juice, and dill or mint or parsley.


title: Tzatziki

text: A variation made with purslane ( in Greek) may be called meaning "purslane and yogurt salad" rather than tzatziki. One simple recipe calls for purslane, olive oil, red wine vinegar and dill. Another is made with purslane, mint, cilantro, parsley and ground coriander, along with the standard yogurt-cucumber base.


title: Tzatziki

text: Turkish "cacık" is made by combining a bit of water and yogurt in a deep bowl together with garlic and different combinations of fresh vegetables and herbs. The amount of water used depends on how thick the cook wants the cacık to be—sometimes the dish is served as a cold soup, but it can also be made thicker according to taste. Labneh may be substituted for some of the yogurt. Garlic is crushed in a mortar and pestle together with salt and the cucumbers are either chopped or grated.


title: Tzatziki

text: The crushed garlic, yogurt and cucumber are combined thoroughly before the dish is garnished with some combination of aleppo pepper, paprika, sumac or mint. It is especially popular during summer months and may optionally be served with ice.


title: Tzatziki

text: When shredded carrots are added along with the cucumber it is called "havuçlu cacık". In Turkey "tarator" is also called "balkan cacığı" and is made with fresh scallions and mint. Other "cacık" varieties may include shredded radish or chopped red pepper and fresh parsley. Dill can optionally be added as well. Some recipes add fresh basil or a tablespoon of vinegar. One version with basil is made with ground walnuts, hazelnuts and chopped fresh basil.


title: Tzatziki

text: Not all "cacıks" are made with shredded cucumber—sometimes various types of leafy greens or herbs are used in combination with other ingredients. For example, one version calls for boiled wheat berry (the same kind used to make Noah's Pudding) and fresh dill. It can also be made into a type of salad with purslane. Sometimes it is made with unripe (green) almonds called "çağla" in Turkish. It may be also made from wild edible plants like "çıtlık" and eaten in a wrap called "dürüm".


title: Tzatziki

text: For "cacıklı arap köftesi", kofta made from a mix of bulgur and ground meat is served over "cacık". In this case the "cacık" is made with chard rather than the usual cucumber. (Spinach or parsley may be substituted for the chard. Some recipes use purslane.) "Bulgurlu madımak cacığı" is made with cracked wheat, cucumber and a type of knotweed called "madımak".


title: Tzatziki

text: Tarator is found in many Balkan countries. It is often prepared as a cold soup, popular in the summer. It is made of yogurt, cucumber, garlic, walnut, dill, vegetable oil, and water, and is served chilled or even with ice. Local variations may replace yogurt with water and vinegar, omit nuts or dill, or add bread. The cucumbers may on rare occasions be replaced with lettuce or carrots.


title: Tzatziki

text: A thicker variation is sometimes known as "dry tarator", or as "Snezhanka" salad, which means "Snow White salad", and is served as an appetizer or side dish. During preparation, the yogurt is hung for several hours in a kerchief and loses about half of its water. The cucumbers, garlic, minced walnuts, salt and vegetable oil are then added.


title: Tzatziki

text: In Bulgaria, tarator is a popular meze (appetizer) but is also served as a side dish along with Shopska salad with some meals. Sunflower oil and olive oil are more commonly used, and the walnuts are sometimes omitted. Tarator is seasoned with garlic and dill, both of which can be omitted. It's a popular dish in Bulgaria and a common refresher during the summer.


title: Tzatziki

text: In Albania, tarator is a very popular dish in the summertime. It is usually served cold and is normally made from yogurt, garlic, parsley, cucumber, salt and olive oil. Fried squid is often offered with Tarator.


title: Tzatziki

text: In Cyprus, the dish is known as (talattouri) and is similar to the Greek recipe with a more characteristic flavour of mint and added acidity in the form of lemon juice.


title: Tzatziki

text: It is made from strained yogurt, sliced cucumbers, minced garlic cloves, lemon juice and sprinkled with dried mint, oregano or olive oil.


title: Tzatziki

text: In Iraq, "jajeek" is often served as meze. It may accompany alcoholic drinks, especially arak, an ouzo-like drink made from dates. In Iran it is known as "mast o khiar".


title: Tzatziki

text: A variation in the Caucasus mountains, called ovdukh, uses kefir instead of the yogurt. This can be poured over a mixture of vegetables, eggs and ham to create a variation of okroshka, sometimes referred to as a 'Caucasus okroshka'. Mizeria is another variation from Poland, using the same ingredients but substituting sour cream for yogurt.


title: Tzatziki

text: In South Asia a similar dish is made with yogurt, cucumber, salt and ground cumin (sometimes also including onions) called raita.


title: Tzatziki

text: In Iran, ash-e doogh is another type of yogurt soup; instead of cucumbers it contains a variety of herbs such as basil, leek, mint, black pepper and raisins. In this style, sometimes dried bread chips, chopped nuts or raisins are put in the dish just before serving.


title: Ramón Arellano Félix

text: Ramón Eduardo Arellano Félix (August 31, 1964 – February 10, 2002) was a Mexican drug lord who alongside his brothers founded and led the Tijuana Cartel (a.k.a. the Arellano-Félix Organization). He was the leader of the enforcement wing of the organization until his assassination on February 10, 2002.


title: Ramón Arellano Félix

text: Standing and , Ramon Arellano Félix was allegedly one of the most ruthless members of the cartel and was a suspect in various murders. Arellano Félix had been linked by Mexican police to the 1998 massacre of twelve members of a family outside of Ensenada, Baja California. The family was related to an alleged associate of the Arellano Félix Cartel.


title: Ramón Arellano Félix

text: While in hiding in Los Angeles in 1995, Arellano Félix was unwittingly the subject of a televised prank when he was approached outside Mann's Chinese Theatre in Hollywood by Rupert Jee, who was filming a segment for the "Late Show with David Letterman".


title: Ramón Arellano Félix

text: On 18 September 1997, Ramon Arellano Félix became the 451st fugitive to be placed on the Ten Most Wanted list. Leading to his Most Wanted Fugitive listing in the United States, he had been charged in a sealed indictment in the United States District Court for the Southern District of California, with Conspiracy to Import Cocaine and Marijuana in drug trafficking.


title: Ramón Arellano Félix

text: On 1 June 2000, the United States Department of the Treasury sanctioned Ramón under the Foreign Narcotics Kingpin Designation Act (sometimes referred to simply as the "Kingpin Act"), for his involvement in drug trafficking, along with eleven other international criminals. The act prohibited U.S. citizens and companies from doing any kind of business activity with him, and virtually froze all his assets in the U.S.


title: Ramón Arellano Félix

text: Arellano Félix was killed in a gunfight in Bugambilia Street, Mazatlán, Sinaloa, where he was stopped due to a traffic infraction by Mexican police officer, Ángel Antonio Árias Torres. Arellano Félix drew his gun and mortally wounded Árias Torres twice in the chest, who fired back and killed Arellano Félix with a single bullet in the head while falling to the ground and dying. According to Jesús Zambada García (alias "El Rey"), Joaquín "El Chapo" Guzmán ordered his execution.


title: Ramón Arellano Félix

text: Arellano's older brother, Benjamín Arellano Félix, the cartel's mastermind, was arrested weeks later on 9 March. On 14 August 2006, the youngest of the Arellano brothers, Francisco Javier Arellano Félix, was arrested with some associates at sea, by the United States Coast Guard. They were in international waters off the coast of Cabo San Lucas, Baja California Sur. Francisco Javier was extradited to the U.S. on September 16, 2006.