title: Wade Phillips

text: On January 5, 2011, Phillips was hired as the defensive coordinator of the Houston Texans, replacing Frank Bush, who was released by Texans owner Bob McNair. The Texans defense made major improvements on defense in Phillips' first year calling Houston's defense. Houston allowed the fourth-fewest points in the league in 2011 (compared to fourth-most in 2010), the second-fewest yards allowed (third-most in 2010) and third-fewest yards per play (4.8, compared to 6.0, second-worst in 2010). On November 3, 2013, Texans head coach Gary Kubiak collapsed at the end of the first half of the Texans-Colts game; he was then hospitalized at a local hospital. In Kubiak's absence, Phillips was given the head coaching duties as the acting head coach for the remainder of the game. On November 6, 2013, the Texans and Kubiak decided to temporarily hand Phillips the head coaching duties, and named him the interim head coach until Kubiak was medically cleared to return. Exactly one month later, Kubiak was fired after his team had lost 11 games in a row. Once again, Phillips served as interim head coach for the Texans until the end of the season, when former Penn State head coach and New England Patriots offensive coordinator Bill O'Brien was hired as the new head coach. When Phillips was dismissed by Houston, this ended a continuous run where he had coached football at the high school, college, and NFL levels.


title: Wade Phillips

text: On January 28, 2015, Phillips reunited with Gary Kubiak, joining the latter's staff as the defensive coordinator on the Denver Broncos. It would be Phillips' second stint at that position with the team. Phillips replaced his predecessor's complex wait-and-react scheme with a simple style of going after the ball, making Denver the top-ranked defense that season, which carried the team to a 12–4 record and the number one seed in the AFC despite their offensive struggles. In Super Bowl 50, played on February 7, 2016, in Santa Clara, California, the game was seen by some as a contest between Phillips and Carolina Panthers offensive coordinator Mike Shula, as both of them were sons of well-known NFL coaches, and as Carolina had the top-ranked offense in the 2015 regular season. Denver's defense shut down Carolina and Cam Newton in a 24–10 victory, giving Phillips the first Super Bowl victory of his career.


title: Wade Phillips

text: Following the retirement of Kubiak as head coach after the 2016 season, Phillips was replaced by Joe Woods as the defensive coordinator for the Broncos.


title: Wade Phillips

text: After a successful stint with the Denver Broncos, Phillips left to become defensive coordinator of the Los Angeles Rams, alongside new head coach Sean McVay.


title: Wade Phillips

text: In Super Bowl LIII, Phillips' defense was credited with keeping the New England Patriots and Tom Brady out of the end zone until the fourth quarter, as the Rams only trailed by a field goal for the first three quarters despite the Patriots' offense having the majority of possession. The Patriots' offense had to resort to running the ball often, which eventually tired out the Rams defensive line. However, the Rams' top-ranked offense that game was stifled and they lost to the Patriots, 13–3.


title: Wade Phillips

text: On January 6, 2020, the Rams announced they would not be renewing his contract. This followed their 2019 season in which the Rams went 9–7 and failed to make the playoffs.


title: Wade Phillips

text: In April 2022, Phillips was announced as a Head Coach for an XFL Team. It was later revealed in July 2022 that he would be coaching Houston.


title: Wade Phillips

text: Counting head coaching jobs as well as interim stints, Phillips has served as head coach for more teams (six) than any other person in NFL history.


title: Wade Phillips

text: Wade is the son of former NFL coach Bum Phillips and Helen Wilson Phillips. He adored his father, both personally and professionally, stating, "I was blessed to have him as a father and coach. I got to coach with him for 11 years. He taught me everything I know about coaching. He taught me right and wrong. He taught me to enjoy life."


title: Wade Phillips

text: Wade and wife Laurie met in 1964 at Port Neches–Groves High School, where he was the quarterback of the football team and she was the head cheerleader; they have a daughter, Tracy, an actress, dancer, and choreographer living in Southern California who played the title role in My Chemical Romance's video "Helena" in 2005, and a son, Wes Phillips, who served alongside his father in Dallas and in 2019 on the Rams staff.


title: Paco Rabanne

text: Francisco Rabaneda Cuervo (born 18 February 1934), more commonly known under the pseudonym of Paco Rabanne (; ), is a Spanish fashion designer who became known as an "enfant terrible" of the 1960s French fashion world.


title: Paco Rabanne

text: Rabanne was born 18 February 1934 in the Basque town of Pasajes, Gipuzkoa province. His father, a Republican Colonel, was executed by Francoist troops during the Spanish Civil War. Rabanne's mother was chief seamstress at Cristóbal Balenciaga's first couture house in Donostia, Basque Country, and moved Rabanne's family when he opened Balenciaga in Paris in 1937, due to the Spanish Civil War. In mid-1950s Paris, while studying architecture at l'École Nationale des Beaux-Arts, Rabanne earned money making fashion sketches for Dior and Givenchy, and shoe sketches for Charles Jourdan, nevertheless he subsequently took a job with France's foremost developer of reinforced concrete, Auguste Perret, working there for over ten years.


title: Paco Rabanne

text: He started his career in fashion by creating jewelry for Givenchy, Dior, and Balenciaga and founded his own fashion house in 1966. He used unconventional material such as metal, paper, and plastic for his metal couture and outlandish and flamboyant designs. For the debut of his namesake brand in 1966, he presented "Manifesto: 12 unwearable dresses in contemporary materials".


title: Paco Rabanne

text: Rabanne is known for the green costume worn by Jane Fonda in the 1968 science-fiction film "Barbarella". Françoise Hardy was a big fan of Rabanne's designs. For and the resulting Live à Bercy, singer Mylène Farmer had Rabanne do her live-concert stage costumes.


title: Paco Rabanne

text: In 1968, he began collaborating with fragrance company Puig, which resulted in the company marketing Rabanne's perfumes. In 1976, the company built a perfume factory in Chartres, France. In the 1980s, in Brazil, his men's perfume brand registration was forfeited due to a court judgement that the brand was never officially present in Brazil despite heavy advertising and a strong local awareness. The court reasoned that because the Puig's local distributor was smuggling perfume into Brazil, the company could not show proof of payment of import duties. It took six or seven years to recover his brand name in Brazil.


title: Paco Rabanne

text: He claims he has lived several lives (including that of a prostitute in the time of Louis XV), to have known Jesus in a previous life, to have seen God three times, to have been visited by extraterrestrials, to have murdered Tutankhamun and to be 75 000 years old..


title: Paco Rabanne

text: In 1999, he announced that, at the age of seventeen, he had had visions of Parisians in flames throwing themselves into the Seine and that after studying other concordant prophecies, he came to the conclusion that the Mir space station was going to crash in France at the time of the solar eclipse of August 11, 1999, its debris causing thousands of deaths in Paris and in the Gers region. On 10 May 1999, he publicly undertakes not to make any more predictions if Mir does not crash into Paris on 11 August 1999. However, he claims to have had an apparition of the Virgin Mary telling him to continue the predictions.


title: Paco Rabanne

text: Despite the failure of this latest coup, which tarnished his reputation among the public and the media, he continues to appear regularly in a specialized press, dealing more with the subject of his so-called paranormal experiences than that of the high fashion.


title: Paco Rabanne

text: In 2005, Rabanne opened in Moscow, Russia, the first exhibition of his drawings. His reasoning for showing the drawings then was, "I am 72 years old, and I wanted to present my drawings this year before disappearing from this planet. I have not shown them to anyone except Salvador Dalí 30 years ago, who told me to keep going." One of the black-and-white sketches depicts a child letting go of a dove and a white balloon into the sky, which he said was inspired by the commemoration ceremony for the 2004 Beslan attack in Beslan, North Ossetia, in which 319 hostages were killed, including 186 children, 12 servicemen, and 31 hostage-takers. Rabanne wanted the money that the drawing sold for to go to the women of Beslan.


title: Paco Rabanne

text: In 2006, Rabanne visited Kyiv, Ukraine. He summed up the changes since the Orange Revolution: "Ukraine reminds me of a flower unfolding its petals before my very eyes." In the summer of 2012, Arora was succeeded by the German-Colombian fashion designer Lydia Maurer as chief designer. In mid-2013, Belgian and former Balenciaga designer Julien Dossena was appointed creative director of womenswear at Paco Rabanne. Dossena's designs were subsequently praised by fashion critics. The ateliers are located in Paris above the flagship store of Nina Ricci, another Puig fashion company, on Avenue Montaigne. In January 2016, a new store opened on Paris' Rue Cambon, following the closure of the remaining Paco Rabanne boutiques more than ten years earlier.


title: Screenwriting

text: Screenwriting or scriptwriting is the art and craft of writing scripts for mass media such as feature films, television productions or video games. It is often a freelance profession.


title: Screenwriting

text: Screenwriters are responsible for researching the story, developing the narrative, writing the script, screenplay, dialogues and delivering it, in the required format, to development executives. Screenwriters therefore have great influence over the creative direction and emotional impact of the screenplay and, arguably, of the finished film. Screenwriters either pitch original ideas to producers, in the hope that they will be optioned or sold; or are commissioned by a producer to create a screenplay from a concept, true story, existing screen work or literary work, such as a novel, poem, play, comic book, or short story.


title: Screenwriting

text: The act of screenwriting takes many forms across the entertainment industry. Often, multiple writers work on the same script at different stages of development with different tasks. Over the course of a successful career, a screenwriter might be hired to write in a wide variety of roles.


title: Screenwriting

text: Spec scripts are feature film or television show scripts written on speculation of sale, without the commission of a film studio, production company or TV network. The content is usually invented solely by the screenwriter, though spec screenplays can also be based on established works or real people and events. The spec script is a Hollywood sales tool. The vast majority of scripts written each year are spec scripts, but only a small percentage make it to the screen. A spec script is usually a wholly original work, but can also be an adaptation.


title: Screenwriting

text: In television writing, a spec script is a sample teleplay written to demonstrate the writer's knowledge of a show and ability to imitate its style and conventions. It is submitted to the show's producers in hopes of being hired to write future episodes of the show. Budding screenwriters attempting to break into the business generally begin by writing one or more spec scripts.


title: Screenwriting

text: Although writing spec scripts is part of any writer's career, the Writers Guild of America forbids members to write "on speculation". The distinction is that a "spec script" is written as a sample by the writer on his or her own; what is forbidden is writing a script for a specific producer without a contract. In addition to writing a script on speculation, it is generally not advised to write camera angles or other directional terminology, as these are likely to be ignored. A director may write up a shooting script himself or herself, a script that guides the team in what to do in order to carry out the director's vision of how the script should look. The director may ask the original writer to co-write it with him or her, or to rewrite a script that satisfies both the director and producer of the film/TV show.


title: Screenwriting

text: Spec writing is also unique in that the writer must pitch the idea to producers. In order to sell the script, it must have an excellent title, good writing, and a great logline. A logline is one sentence that lays out what the movie is about. A well-written logline will convey the tone of the film, introduce the main character, and touch on the primary conflict. Usually the logline and title work in tandem to draw people in, and it is highly suggested to incorporate irony into them when possible. These things, along with nice, clean writing will hugely impact whether or not a producer picks up the spec script.


title: Screenwriting

text: A commissioned screenplay is written by a hired writer. The concept is usually developed long before the screenwriter is brought on, and often has multiple writers work on it before the script is given a green light. The plot development is usually based on highly successful novels, plays, TV shows and even video games, and the rights to which have been legally acquired.


title: Screenwriting

text: Scripts written on assignment are screenplays created under contract with a studio, production company, or producer. These are the most common assignments sought after in screenwriting. A screenwriter can get an assignment either exclusively or from "open" assignments. A screenwriter can also be approached and offered an assignment. Assignment scripts are generally adaptations of an existing idea or property owned by the hiring company, but can also be original works based on a concept created by the writer or producer.


title: Screenwriting

text: Most produced films are rewritten to some extent during the development process. Frequently, they are not rewritten by the original writer of the script. Many established screenwriters, as well as new writers whose work shows promise but lacks marketability, make their living rewriting scripts.


title: Screenwriting

text: When a script's central premise or characters are good but the script is otherwise unusable, a different writer or team of writers is contracted to do an entirely new draft, often referred to as a "page one rewrite". When only small problems remain, such as bad dialogue or poor humor, a writer is hired to do a "polish" or "punch-up".


title: Screenwriting

text: Depending on the size of the new writer's contributions, screen credit may or may not be given. For instance, in the American film industry, credit to rewriters is given only if 50% or more of the script is substantially changed. These standards can make it difficult to establish the identity and number of screenwriters who contributed to a film's creation.


title: Screenwriting

text: When established writers are called in to rewrite portions of a script late in the development process, they are commonly referred to as script doctors. Prominent script doctors include Christopher Keane, Steve Zaillian, William Goldman, Robert Towne, Mort Nathan, Quentin Tarantino and Peter Russell. Many up-and-coming screenwriters work as ghost writers.


title: Screenwriting

text: A freelance television writer typically uses spec scripts or previous credits and reputation to obtain a contract to write one or more episodes for an existing television show. After an episode is submitted, rewriting or polishing may be required.


title: Screenwriting

text: A staff writer for a TV show generally works in-house, writing and rewriting episodes. Staff writers—often given other titles, such as story editor or producer—work both as a group and individually on episode scripts to maintain the show's tone, style, characters, and plots.


title: Screenwriting

text: Television show creators write the television pilot and bible of new television series. They are responsible for creating and managing all aspects of a show's characters, style, and plots. Frequently, a creator remains responsible for the show's day-to-day creative decisions throughout the series run as showrunner, head writer or story editor.


title: Screenwriting

text: The process of writing for soap operas and telenovelas is different from that used by prime time shows, due in part to the need to produce new episodes five days a week for several months. In one example cited by Jane Espenson, screenwriting is a "sort of three-tiered system":


title: Screenwriting

text: Espenson notes that a recent trend has been to eliminate the role of the mid-level writer, relying on the senior writers to do rough outlines and giving the other writers a bit more freedom. Regardless, when the finished scripts are sent to the top writers, the latter do a final round of rewrites. Espenson also notes that a show that airs daily, with characters who have decades of history behind their voices, necessitates a writing staff without the distinctive voice that can sometimes be present in prime-time series.


title: Screenwriting

text: Game shows feature live contestants, but still use a team of writers as part of a specific format. This may involve the slate of questions and even specific phrasing or dialogue on the part of the host. Writers may not script the dialogue used by the contestants, but they work with the producers to create the actions, scenarios, and sequence of events that support the game show's concept.


title: Screenwriting

text: With the continued development and increased complexity of video games, many opportunities are available to employ screenwriters in the field of video game design. Video game writers work closely with the other game designers to create characters, scenarios, and dialogue.


title: Screenwriting

text: Several main screenwriting theories help writers approach the screenplay by systematizing the structure, goals and techniques of writing a script. The most common kinds of theories are structural. Screenwriter William Goldman is widely quoted as saying "Screenplays are structure".


title: Screenwriting

text: According to this approach, the three acts are: the setup (of the setting, characters, and mood), the confrontation (with obstacles), and the resolution (culminating in a climax and a dénouement). In a two-hour film, the first and third acts each last about thirty minutes, with the middle act lasting about an hour, but nowadays many films begin at the confrontation point and segue immediately to the setup or begin at the resolution and return to the setup.


title: Screenwriting

text: In "Writing Drama", French writer and director Yves Lavandier shows a slightly different approach. As do most theorists, he maintains that every human action, whether fictitious or real, contains three logical parts: before the action, during the action, and after the action. But since the climax is part of the action, Lavandier maintains that the second act must include the climax, which makes for a much shorter third act than is found in most screenwriting theories.


title: Screenwriting

text: Besides the three-act structure, it is also common to use a four- or five-act structure in a screenplay, and some screenplays may include as many as twenty separate acts.


title: Screenwriting

text: The hero's journey, also referred to as the monomyth, is an idea formulated by noted mythologist Joseph Campbell. The central concept of the monomyth is that a pattern can be seen in stories and myths across history. Campbell defined and explained that pattern in his book "The Hero with a Thousand Faces" (1949).


title: Screenwriting

text: Campbell's insight was that important myths from around the world, which have survived for thousands of years, all share a fundamental structure. This fundamental structure contains a number of stages, which include:


title: Screenwriting

text: Later, screenwriter Christopher Vogler refined and expanded the hero's journey for the screenplay form in his book, "" (1993).


title: Screenwriting

text: Syd Field introduced a new theory he called "the paradigm". He introduced the idea of a "plot point" into screenwriting theory and defined a plot point as "any incident, episode, or event that hooks into the action and spins it around in another direction". These are the anchoring pins of the story line, which hold everything in place. There are many plot points in a screenplay, but the main ones that anchor the story line in place and are the foundation of the dramatic structure, he called "plot points I and II". Plot point I occurs at the end of Act 1; plot point II at the end of Act 2. Plot point I is also called the "key incident" because it is the true beginning of the story and, in part, what the story is about.


title: Screenwriting

text: In a 120-page screenplay, Act 2 is about sixty pages in length, twice the length of Acts 1 and 3. Field noticed that in successful movies, an important dramatic event usually occurs at the middle of the picture, around page sixty. The action builds up to that event, and everything afterward is the result of that event. He called this event the "centerpiece" or "midpoint". This suggested to him that the middle act is actually two acts in one. So, the three-act structure is notated 1, 2a, 2b, 3, resulting in Aristotle’s three acts being divided into four pieces of approximately thirty pages each.


title: Screenwriting

text: Field defined two plot points near the middle of Acts 2a and 2b, called "pinch I" and "pinch II", occurring around pages 45 and 75 of the screenplay, respectively, whose functions are to keep the action on track, moving it forward, either toward the midpoint or plot point II. Sometimes there is a relationship between pinch I and pinch II: some kind of story connection.


title: Screenwriting

text: According to Field, the "inciting incident" occurs near the middle of Act 1, so-called because it sets the story into motion and is the first visual representation of the key incident. The inciting incident is also called the "dramatic hook", because it leads directly to plot point I.


title: Screenwriting

text: The sequence approach to screenwriting, sometimes known as "eight-sequence structure", is a system developed by Frank Daniel, while he was the head of the Graduate Screenwriting Program at USC. It is based in part on the fact that, in the early days of cinema, technical matters forced screenwriters to divide their stories into sequences, each the length of a reel (about ten minutes).


title: Screenwriting

text: The sequence approach mimics that early style. The story is broken up into eight 10-15 minute sequences. The sequences serve as "mini-movies", each with their own compressed three-act structure. The first two sequences combine to form the film's first act. The next four create the film's second act. The final two sequences complete the resolution and dénouement of the story. Each sequence's resolution creates the situation which sets up the next sequence.


title: Screenwriting

text: Michael Hauge divides primary characters into four categories. A screenplay may have more than one character in any category.


title: Screenwriting

text: Secondary characters are all the other people in the screenplay and should serve as many of the functions above as possible.


title: Screenwriting

text: Motivation is whatever the character hopes to accomplish by the end of the movie. Motivation exists on outer and inner levels.


title: Screenwriting

text: Motivation alone is not sufficient to make the screenplay work. There must be something preventing the hero from getting what he or she wants. That something is conflict.


title: Screenwriting

text: Fundamentally, the screenplay is a unique literary form. It is like a musical score, in that it is intended to be interpreted on the basis of other artists' performance, rather than serving as a finished product for the enjoyment of its audience. For this reason, a screenplay is written using technical jargon and tight, spare prose when describing stage directions. Unlike a novel or short story, a screenplay focuses on describing the literal, visual aspects of the story, rather than on the internal thoughts of its characters. In screenwriting, the aim is to evoke those thoughts and emotions through subtext, action, and symbolism.


title: Screenwriting

text: Most modern screenplays, at least in Hollywood and related screen cultures, are written in a style known as the master-scene format or master-scene script. The format is characterized by six elements, presented in the order in which they are most likely to be used in a script:


title: Screenwriting

text: Scripts written in master-scene format are divided into scenes: "a unit of story that takes place at a specific location and time". Scene headings (or slugs) indicate the location the following scene is to take place in, whether it is interior or exterior, and the time-of-day it appears to be. Conventionally, they are capitalized, and may be underlined or bolded. In production drafts, scene headings are numbered.


title: Screenwriting

text: Next are action lines, which describe stage direction and are generally written in the present tense with a focus only on what can be seen or heard by the audience.


title: Screenwriting

text: Character names are in all caps, centered in the middle of the page, and indicate that a character is speaking the following dialogue. Characters who are speaking off-screen or in voice-over are indicated by the suffix (O.S.) and (V.O) respectively.


title: Screenwriting

text: Parentheticals provide stage direction for the dialogue that follows. Most often this is to indicate how dialogue should be performed (for example, angry) but can also include small stage directions (for example, picking up vase). Overuse of parentheticals is discouraged.


title: Screenwriting

text: Dialogue blocks are offset from the page's margin by 3.7" and are left-justified. Dialogue spoken by two characters at the same time is written side by side and is conventionally known as dual-dialogue.


title: Screenwriting

text: The final element is the scene transition and is used to indicate how the current scene should transition into the next. It is generally assumed that the transition will be a cut, and using "CUT TO:" will be redundant. Thus the element should be used sparingly to indicate a different kind of transition such as "DISSOLVE TO:".


title: Screenwriting

text: Screenwriting applications such as Final Draft (software), Celtx, Fade In (software), Slugline, Scrivener (software), and Highland, allow writers to easily format their script to adhere to the requirements of the master screen format.


title: Screenwriting

text: Imagery can be used in many metaphoric ways. In "The Talented Mr. Ripley", the title character talked of wanting to close the door on himself sometime, and then, in the end, he did. Pathetic fallacy is also frequently used; rain to express a character feeling depressed, sunny days promote a feeling of happiness and calm. Imagery can be used to sway the emotions of the audience and to clue them in to what is happening.


title: Screenwriting

text: Imagery is well defined in "City of God". The opening image sequence sets the tone for the entire film. The film opens with the shimmer of a knife's blade on a sharpening stone. A drink is being prepared, The knife's blade shows again, juxtaposed is a shot of a chicken letting loose of its harness on its feet. All symbolising 'The One that got away'. The film is about life in the favelas in Rio - sprinkled with violence and games and ambition.


title: Screenwriting

text: Since the advent of sound film, or "talkies", dialogue has taken a central place in much of mainstream cinema. In the cinematic arts, the audience understands the story only through what they see and hear: action, music, sound effects, and dialogue. For many screenwriters, the only way their audiences can hear the writer's words is through the characters' dialogue. This has led writers such as Diablo Cody, Joss Whedon, and Quentin Tarantino to become well known for their dialogue—not just their stories.


title: Screenwriting

text: Bollywood and other Indian film industries use separate dialogue writers in addition to the screenplay writers.


title: Screenwriting

text: Plot, according to Aristotle's "Poetics", refers to the sequence events connected by cause and effect in a story. A story is a series of events conveyed in chronological order. A plot is the same series of events deliberately arranged to maximize the story's dramatic, thematic, and emotional significance. E.M.Forster famously gives the example "The king died and then the queen died" is a story." But "The king died and then the queen died of grief" is a plot. For Trey Parker and Matt Stone this is best summarized as a series of events connected by "therefore" and "but".


title: Screenwriting

text: A number of American universities offer specialized Master of Fine Arts and undergraduate programs in screenwriting, including USC, DePaul University, American Film Institute, Loyola Marymount University, Chapman University, NYU, UCLA, Boston University and the University of the Arts. In Europe, the United Kingdom has an extensive range of MA and BA Screenwriting Courses including London College of Communication, Bournemouth University, Edinburgh University, and Goldsmiths College (University of London).


title: Screenwriting

text: Some schools offer non-degree screenwriting programs, such as the TheFilmSchool, The International Film and Television School Fast Track, and the UCLA Professional / Extension Programs in Screenwriting.


title: Screenwriting

text: New York Film Academy offers both degree and non-degree educational systems with campuses all around the world.


title: Screenwriting

text: A variety of other educational resources for aspiring screenwriters also exist, including books, seminars, websites and podcasts, such as the "Scriptnotes" podcast.


title: Screenwriting

text: The first true screenplay is thought to be from George Melies' 1902 film "A Trip to the Moon". The movie is silent, but the screenplay still contains specific descriptions and action lines that resemble a modern-day script. As time went on and films became longer and more complex, the need for a screenplay became more prominent in the industry. The introduction of movie theaters also impacted the development of screenplays, as audiences became more widespread and sophisticated, so the stories had to be as well. Once the first non-silent movie was released in 1927, screenwriting became a hugely important position within Hollywood. The "studio system" of the 1930s only heightened this importance, as studio heads wanted productivity. Thus, having the "blueprint" (continuity screenplay) of the film beforehand became extremely optimal. Around 1970, the "spec script" was first created, and changed the industry for writers forever. Now, screenwriting for television (teleplays) is considered as difficult and competitive as writing is for feature films.


title: Screenwriting

text: In the United States, completed works may be copyrighted, but ideas and plots may not be. Any document written after 1978 in the U.S. is automatically copyrighted even without legal registration or notice. However, the Library of Congress will formally register a screenplay. U.S. Courts will not accept a lawsuit alleging that a defendant is infringing on the plaintiff's copyright in a work until the plaintiff registers the plaintiff's claim to those copyrights with the Copyright Office. This means that a plaintiff's attempts to remedy an infringement will be delayed during the registration process. Additionally, in many infringement cases, the plaintiff will not be able recoup attorney fees or collect statutory damages for copyright infringement, unless the plaintiff registered before the infringement began. For the purpose of establishing evidence that a screenwriter is the author of a particular screenplay (but not related to the legal copyrighting status of a work), the Writers Guild of America registers screenplays. However, since this service is one of record keeping and is not regulated by law, a variety of commercial and non-profit organizations exist for registering screenplays. Protection for teleplays, formats, as well as screenplays may be registered for instant proof-of-authorship by third-party assurance vendors.


title: Screenwriting

text: There is a line of precedent in several states (including California and New York) that allows for "idea submission" claims, based on the notion that submission of a screenplay—or even a mere pitch for one—to a studio under very particular sets of factual circumstances could potentially give rise to an implied contract to pay for the ideas embedded in that screenplay, even if an alleged derivative work does not actually infringe the screenplay author's copyright. The unfortunate side effect of such precedents (which were supposed to protect screenwriters) is that it is now that much harder to break into screenwriting. Naturally, motion picture and television production firms responded by categorically declining to read "all" unsolicited screenplays from unknown writers; accepting screenplays only through official channels like talent agents, managers, and attorneys; and forcing screenwriters to sign broad legal releases before their screenplays will be actually accepted, read, or considered. In turn, agents, managers, and attorneys have become extremely powerful gatekeepers on behalf of the major film studios and media networks. One symptom of how hard it is to break into screenwriting as a result of such case law is that in 2008, Universal resisted construction of a bike path along the Los Angeles River next to its studio lot because it would worsen their existing problem with desperate amateur screenwriters throwing copies of their work over the studio wall.


title: Immigration to Germany

text: Immigration to Germany, both in the country's modern borders and the many political entities that preceded it, has occurred throughout the country's history. Today, Germany is one of the most popular destinations for immigrants in the world, with well over 1 million people moving there each year since 2013. As of 2019, around 13.7 million people living in Germany, or about 17% of the population, are first-generation immigrants.


title: Immigration to Germany

text: Even before Germany's formal founding in 1871, its predecessor states, such as the Holy Roman Empire and the German Confederation, were destinations for immigrants. Early examples include Protestants seeking religious freedom and refugees from the partitions of Poland. Jewish immigration, mostly from Eastern Europe, was also significant. In the 20th century, rising antisemitism and xenophobia resulted in the mass emigration of German Jews and culminated in the Holocaust, in which almost all remaining German Jews and many other religious or ethnic groups, such as German Roma, were systematically murdered. In the decades since, Germany has experienced renewed immigration, particularly from Eastern and Southern Europe, Turkey and the Middle East. Since 1990, Germany has consistently ranked as one of the five most popular destination countries for immigrants in the world. According to the federal statistics office in 2016, over one in five Germans has at least partial roots outside of the country.


title: Immigration to Germany

text: In modern Germany, immigration has generally risen and fallen with the country's economy. The economic boom of the 2010s, coupled with the elimination of working visa requirements for many EU citizens, brought a sustained inflow from elsewhere in Europe. Separate from economic trends, the country has also seen several distinct major waves of immigration. These include the forced resettlement of ethnic Germans from eastern Europe after World War II, the guest worker programme of the 1950s–1970s, and ethnic Germans from former Communist states claiming their right of return after the breakup of the Soviet Union. Germany also accepted significant numbers of refugees from the Yugoslav wars in the 1990s and the Syrian civil war in the 2010s.


title: Immigration to Germany

text: Motivated in part by low birth rates and labour shortages, German government policy towards immigration has generally been relatively liberal since the 1950s, although conservative politicians resisted the normalisation of Germany as a country of immigrants and citizenship laws accordingly remained relatively restrictive until the mid-2000s. A major reform of immigration law in 2005 saw the state commit, for the first time, resources to the integration of newcomers and significantly liberalised the labour market for skilled professionals while restricting it for unskilled labourers. Smaller immigration reforms in 2009, 2012 and 2020 contributed to the broad trend of liberalisation, although there continue to be calls for a more comprehensive reform, especially to simplify the accreditation of foreign qualifications and make it easier for companies to employ non-EU citizens.


title: Immigration to Germany

text: The Counter-Reformation in the 16th and 17th centuries led large numbers of Protestants to settle in Protestant — or at least religiously tolerant — principalities and cities of the Holy Roman Empire, much of which would later become Germany. According to one estimate, a total of 100,000 Protestants moved from Habsburg lands to what is now southern and central Germany in the 17th century.


title: Immigration to Germany

text: Large numbers of Huguenots also fled France after the St. Bartholomew's Day massacre in 1572, around 40,000 of whom settled in what is now Germany. Although many returned to France after the 1598 Edict of Nantes, which proclaimed a policy of religious tolerance towards Huguenots, repeated waves of conflict and persecution over the next few centuries spurred new waves of emigration. Brandenburg-Prussia, Hesse-Kassel, Brandenburg-Bayreuth, and Hanover were major destinations of Huguenots during this time.


title: Immigration to Germany

text: Several thousand English and Scottish Presbyterians also fled the violent reign of Mary Tudor; many settled in Frankfurt. Many Dutch Calvinists settled in northwestern Germany after the Dutch Revolt.


title: Immigration to Germany

text: Towards the end of World War II, and in its aftermath, up to 12 million refugees of ethnic Germans, so-called "Heimatvertriebene" (German for "expellees", literally "homeland displaced persons") were forced to migrate from the former German areas, as for instance Silesia or East Prussia, to the new formed States of post-war Germany and Allied-occupied Austria, because of changing borderlines in Europe.


title: Immigration to Germany

text: Due to a shortage of laborers during the Wirtschaftswunder ("economic miracle") in the 1950s and 1960s, the West German government signed bilateral recruitment agreements with Italy in 1955, Greece in 1960, Turkey in 1961, Morocco in 1963, Portugal in 1964, Tunisia in 1965 and Yugoslavia in 1968. These agreements allowed German companies to recruit foreign citizens to work in Germany. The work permits were at first issued for a duration of two years, after which the recruited workers were supposed to return to their home countries. However, many companies repeatedly renewed the work permits; some of the bilateral treaties were even updated to give workers permanent residency upon arrival. As a result, even though many did ultimately return to their countries of origin, several million of the recruited workers and their families ended up settling in Germany permanently. Nevertheless, the government continued to encourage the public perception of the arriving immigrants as temporary guest workers ("Gastarbeiter)" and for many years made little provision for their integration into German society.


title: Immigration to Germany

text: East Germany set up similar foreign recruitment schemes, although at much smaller scales and exclusively with other socialist states. Most foreign workers recruited to East Germany, known locally as "Vertragsarbeiter", came from North Vietnam (ca. 60,000), Cuba (30,000), Mozambique (21,000) and Angola (6,000). The government portrayed East Germany as a post-racial society and called the foreign workers socialist "friends" who would learn skills which could then be applied in their home countries. In reality, racism and exploitation were widespread. The workers were generally strictly segregated from locals and did menial work that locals refused to do. Considerable portions of their paychecks were often diverted to their home governments, making their livelihoods precarious. Following German reunification in 1990, many of the roughly 90,000 foreign workers living in what had been East Germany had no legal status as immigrant workers under the Western system. Consequently, many faced deportation or premature termination of residence and work permits, as well as open discrimination in the workplace and racism in everyday life. The vast majority ultimately returned to their home countries.


title: Immigration to Germany

text: During the 1980s, a small but steady stream of East Germans immigrating to the West ("Übersiedler") had begun with the gradual opening of the Eastern bloc. In 1990, the year of German reunification, the number swelled to 389,000.


title: Immigration to Germany

text: As Eastern bloc countries gradually began to open their borders in the 1980s, large numbers of ethnic Germans from these countries began to move to Germany. German law at the time recognized an almost unlimited right of return for people of German descent, of whom there were several million in the Soviet Union, Poland and Romania. Germany initially received around 40,000 per year. In 1987, the number doubled, in 1988 it doubled again and in 1990 nearly 400,000 immigrated.


title: Immigration to Germany

text: Upon arrival, ethnic Germans became citizens at once according to Article 116 of the Basic Law, and received financial and many social benefits, including language training, as many did not speak German. Social integration was often difficult, even though ethnic Germans were entitled to German citizenship, but to many Germans they did not seem German. In 1991, restrictions went into effect, in that ethnic Germans were assigned to certain areas, losing benefits if they were moving. The German government also encouraged the estimated several million ethnic Germans living in the former Soviet Union and Eastern Europe to remain there. Since January 1993, no more than 220,000 ethnic Germans may immigrate per year. In total, more than 4.5 million ethnic Germans moved to Germany between 1990 and 2007.


title: Immigration to Germany

text: And in parallel, a third stream of immigration starting in the mid-1980s were war refugees, of which West Germany accepted more than any other West European country due to a nearly unqualified right to asylum. Around 300,000 Iranians fled from persecution in the wake of the Iranian Revolution between 1979 and 1986 alone. Notable numbers of asylum seekers came from Turkey after a military coup in 1980 and, separately, due to ongoing persecution of Turkish Kurds in the country. Several thousand people also sought refuge in Germany from the Lebanese Civil War.


title: Immigration to Germany

text: Due to the outbreak of the Yugoslav Wars in 1991, large numbers of refugees headed to Germany and other European countries. Between 1990 and 1992 nearly 900,000 people sought asylum in a united Germany. In 1992 Germany admitted almost 70 percent of all asylum seekers registered in the European Community. By comparison, only about 100,000 people sought asylum in the U.S in the same year.


title: Immigration to Germany

text: The growing numbers of asylum seekers led the Bundestag to significantly curtail the previously unqualified right to asylum in Germany, which former German refugees had "held sacred because of their reliance on it to escape the Nazi regime" and which required a constitutional amendment. Applications from people entering Germany after passing through other European Community member states, where they theoretically could have already applied for asylum, were now refused, as were applications from nationals of designated safe countries.


title: Immigration to Germany

text: Though only about 5 percent of the asylum applications were approved and appeals sometimes took years to be processed, many asylum seekers were able to stay in Germany and received financial and social aid from the government.


title: Immigration to Germany

text: In June 2015, new arrivals of asylum seekers, which had been increasing steadily for years, began to rise sharply, driven especially by refugees fleeing wars in Syria, Iraq and Afghanistan. An original projection of 450,000 asylum seekers entering Germany for the whole of 2015 was revised upwards to 800,000 in August and again in September to over 1 million. The actual final number was 1.1 million; Germany spent about €16 billion (0.5% of GDP) on processing and housing refugees that year.


title: Immigration to Germany

text: Most of the refugees entering Europe around this time came by land via the so-called "Balkan route." According to an EU law (the Dublin regulation), refugees were required to file asylum claims in the first EU country they set foot in, which for many was Hungary, and remain there while the claim is processed. As a result, Hungary registered 150,000 asylum seekers by August 2015. However, the vast majority of these refugees had no desire to remain in Hungary and wanted to move on to Western or Northern Europe, leading to a sizable population of refugees "trapped" in the country. The Hungarian government began to house refugees in camps under squalid conditions. The German Federal Office for Migration and Refugees, overwhelmed with the task of processing the sheer number of incoming asylum claims, was unable to prioritize deporting refugees to Hungary and decided to suspend enforcement of the Dublin regulation for Syrian nationals. As a result, refugees in Hungary requested to be allowed leave for Germany; several thousand began making their way across Hungary and Austria towards Germany on foot. Claiming it was no longer able to process asylum claims properly, Hungary began providing buses for refugees to the Austrian border. Responding to a wave of public sympathy in reaction to widely broadcast scenes of police brutality and refugees dying at the hands of smugglers in Hungary, and unable to keep the migrants out of the country without resorting to brutal force, the German and Austrian chancellors, Angela Merkel and Werner Faymann decided to allow the refugees in. The publicity from this decision led hundreds of thousands of people fleeing the Syrian civil war to make for Germany.


title: Immigration to Germany

text: Although the number of refugees in formal employment more than tripled between 2016 and 2019, as a group they remain overrepresented in unemployment statistics, which experts ascribe to a combination of red tape and refugees' difficulty in finding housing. Employment among Syrians and Afghans, the most two common nationalities among the 2015-2016 refugee arrivals, rose by 79% and 40%, respectively, between 2017 and 2018.


title: Immigration to Germany

text: The 2018 Ellwangen police raid, in which residents of a migrant shelter rioted to prevent police from deporting an asylum seeker whose claim had been deemed invalid, sparked a significant political debate.


title: Immigration to Germany

text: In 2015, most Germans were very supportive of the large numbers of refugees arriving in Germany. Then-chancellor Angela Merkel declared in a speech, “Wir schaffen das" (roughly, "we can do this"), which was widely used by news media as well as the public as a defining statement of her policy during the crisis. In 2015, the brunt of the European immigration crisis was placed on Germany when 890,000 refugees crossed the border and applied for asylum, most of them fleeing from the Syrian War. By 2018, 670,000 out of 700,000 Syrians living in Germany immigrated as a result of internal strife and conflict in Syria beginning in 2011. A 2015 survey shows that 46% of the entire German population was facilitating help in some way for refugees. All over, German citizens were creating initiatives and support groups for asylum seekers as well as donating their time to help on-site with refugees. Media helped shape German attitudes as well as put pressure on the government by covering the victims of immigration and by showing individual stories, which humanized them.


title: Immigration to Germany

text: The widespread sexual assaults on New Year's Eve of 2015, for which a significant number of suspects were asylum seekers, marked a shift in the tone of media coverage and public opinion towards refugees, though the government noted refugees were, statistically, no more likely than locals to commit crimes.


title: Immigration to Germany

text: Since then, Germany's intake of refugees has consistently dropped each year, while deportations increased and leveled out at around 20,000.


title: Immigration to Germany

text: On 24 February 2022, Russia invaded Ukraine in a major escalation of the Russo-Ukrainian War, which began in 2014. In addition to tens of thousands of deaths on both sides, this invasion has caused Europe's largest refugee crisis since World War II, with around 7.5 million Ukrainians fleeing the country and a third of the population displaced. Accordingly, by October of 2022, Germany had recorded net immigration of 750,000 people from Ukraine in the first half of 2022, according to the office, responsible for collecting information on German society, economy, and the environment. That influx pushed Germany's population growth to 1%, or about 843,000 people, in the first half of the year.


title: Immigration to Germany

text: As of 2014, about 16.3 million people with an immigrant background were living in Germany, accounting for every fifth person. Of those 16.3 million, 8.2 million had no German citizenship, more than ever before. Most of them had Turkish, Eastern European or Southern European background. The majority of new foreigners coming to Germany in 2014 were from new EU member states such as Poland, Romania, Bulgaria and Croatia, non-EU European countries like Albania, North Macedonia, Switzerland and Norway or from the Middle East, Africa, East Asia, South Asia, Southeast Asia, South America, North America, Australia and Zealandia. Due to ongoing conflicts in the Middle East, many people are hoping to seek asylum in the European Union and Germany.


title: Immigration to Germany

text: European Union free movement of workers principles require that all EU member state citizens have the right to solicit and obtain work in Germany regardless of citizenship. These basic rules for freedom of movement are given in Article 39 of the Treaty on the European Union.


title: Immigration to Germany

text: Immigration to Germany as a non-EU-citizen is limited to skilled or highly educated workers and their immediate family members. In April 2012, European Blue Card legislation was implemented in Germany, allowing highly skilled non-EU citizens easier access to work and live in Germany. Although uptake of the scheme has grown steadily since then, its use remains modest; around 27,000 blue cards were issued in Germany in 2018.


title: Immigration to Germany

text: Self-employment requires either an initial investment of EUR 250,000 and the creation of a minimum of 5 jobs.


title: Immigration to Germany

text: New regulations were enacted in 2020 in response to the 2019 Skilled Immigration Act. In order to qualify for a visa under the new rules, applicants must obtain official recognition of their professional qualification from a certification authority recognized by the German government. Further, the applicant must meet language competency requirements and obtain a declaration from their prospective employer.


title: Immigration to Germany

text: According to a study of the Federal Office for Migration and Refugees (BAMF), around 54 percent of foreign students in Germany decide to stay after graduation.


title: Immigration to Germany

text: German asylum law is based on the 1993 amendment of article 16a of the Basic Law as well as on the 1951 Convention and 1967 Protocol relating to the Status of Refugees.


title: Immigration to Germany

text: In accordance with the Convention Relating to the Status of Refugees, Germany grants refugee status to persons that are facing prosecution because of their race, religion, nationality or belonging to a special group. Since 2005, recognized refugees enjoy the same rights as people who were granted asylum. Germany's national ban on deportation doesn't permit returning refugees to their home country should doing so place them in imminent danger or that doing so would break EU human rights laws. This policy is a major catalyst to the large influx of Syrian refugees following the outbreak of the Syrian Civil War.


title: Immigration to Germany

text: The distribution of refugees among the federal states is calculated using the "Königsteiner Schlüssel", which is recalculated annually.


title: Immigration to Germany

text: Germany hosts one of the largest populations of Turkish people outside Turkey. Kurds makeup 80 to 90 percent of all Turkish refugees in Germany while the rest of the refugees are former Turkish military officers, teachers, and other types of public servants who fled the authoritarian government following the coup attempt in July 2016. Among Iraqi refugees in Germany, about 50 percent are Kurds. There are approximately 1.2 million Kurds in Germany.


title: Immigration to Germany

text: An institute of forensic medicine in Münster determined the age of 594 of unaccompanied minors in 2019 and found that 234 (40%) were likely 18 years or older and would therefore be processed as adults by authorities. The sample was predominantly males from Afghanistan and Guinea.


title: Immigration to Germany

text: In 2015, responding to relatively high numbers of unsuccessful asylum applications from several Balkan countries (Serbia, Albania, Kosovo and Montenegro), the German government formally declared these countries "generally safe" to speed up their processing.


title: Immigration to Germany

text: A person who has immigrated to Germany may choose to become a German citizen. The standard pathway to citizenship is known as "Anspruchseinbürgerung" (roughly, naturalization by entitlement). In this process, when the applicant fulfills certain criteria they are entitled to become German citizens; the decision is not generally subject to the judgment of a government official. The applicant must:


title: Immigration to Germany

text: A person who does not fulfill all of these criteria may still apply for German citizenship by discretionary naturalisation ("Ermessenseinbürgerung") as long as certain minimum requirements are met.


title: Immigration to Germany

text: Spouses and same-sex civil partners of German citizens can be naturalised after only 3 years of residence (and two years of marriage).


title: Immigration to Germany

text: Under certain conditions children born on German soil after the year 1990 are automatically granted German citizenship and, in most cases, also hold the citizenship of their parent's home country.


title: Immigration to Germany

text: Applications for naturalisation made outside Germany are possible under certain circumstances, but are relatively rare.


title: Immigration to Germany

text: According to the Federal Statistical Office of Germany in 2012, 92% of residents (73.9 million) in Germany had German citizenship, with 80% of the population being Germans (64.7 million) having no immigrant background. Of the 20% (16.3 million) people with immigrant background, 3.0 million (3.7%) had Polish, 1.5 million (1.9%) Turkish, 1.2 million (1.5%) Russian and 0.85 million (0.9%) Italian background.


title: Immigration to Germany

text: In 2014, most people without German citizenship were Turkish (1.52 million), followed by Polish (0.67 million), Italian (0.57 million), Romanians (0.36 million) and Greek citizens (0.32 million).


title: Immigration to Germany

text: According to Eurostat, 47.3 million people living in the European Union in 2010 were born outside their resident country which corresponds to 9.4% of the total EU population. Of these, 31.4 million (6.3%) were born outside the EU and 16.0 million (3.2%) were born in another EU member state. The largest absolute numbers of people born outside the EU were in Germany (6.4 million), France (5.1 million), the United Kingdom (4.7 million), Spain (4.1 million), Italy (3.2 million), and the Netherlands (1.4 million).


title: Immigration to Germany

text: Only a very small percentage, around 4%, of immigrants in Germany are accused of committing crimes. Non-German citizens are, in general, over-represented among suspects in criminal investigations (see horizontal bar chart). However, the complex nature of the data means it is not straightforward to make observations about the crime rates among immigrants. One factor is that crimes committed by foreign nationals are twice as likely to be reported as those committed by German citizens. In addition, the clearance rate (the percentage of crimes that are solved successfully) is extremely low in some categories, such as pickpocketing (5% solved) and burglaries (17% solved). When considering solved crimes only, non-German nationals make up around 8% of all suspects.


title: Immigration to Germany

text: A disproportionate number of organized crime families in Germany are run by immigrants or their children. One-fifth of investigations into organized crime involve one or more non-German suspects. This has been attributed to the lack of effort made to integrate newly arrived immigrants in the 1960s and 1970s, who at the time were seen as "temporary" guest workers.


title: Eye (cyclone)

text: The eye is a region of mostly calm weather at the center of tropical cyclones. The eye of a storm is a roughly circular area, typically in diameter. It is surrounded by the "eyewall", a ring of towering thunderstorms where the most severe weather and highest winds occur. The cyclone's lowest barometric pressure occurs in the eye and can be as much as 15 percent lower than the pressure outside the storm.


title: Eye (cyclone)

text: In strong tropical cyclones, the eye is characterized by light winds and clear skies, surrounded on all sides by a towering, symmetric eyewall. In weaker tropical cyclones, the eye is less well defined and can be covered by the central dense overcast, an area of high, thick clouds that show up brightly on satellite imagery. Weaker or disorganized storms may also feature an eyewall that does not completely encircle the eye or have an eye that features heavy rain. In all storms, however, the eye is the location of the storm's minimum barometric pressure—where the atmospheric pressure at sea level is the lowest.


title: Eye (cyclone)

text: A typical tropical cyclone will have an eye of approximately 30–65 km (20–40 mi) across, usually situated at the geometric center of the storm. The eye may be clear or have spotty low clouds (a "clear eye"), it may be filled with low- and mid-level clouds (a "filled eye"), or it may be obscured by the central dense overcast. There is, however, very little wind and rain, especially near the center. This is in stark contrast to conditions in the eyewall, which contains the storm's strongest winds. Due to the mechanics of a tropical cyclone, the eye and the air directly above it are warmer than their surroundings.


title: Eye (cyclone)

text: While normally quite symmetric, eyes can be oblong and irregular, especially in weakening storms. A large "ragged eye" is a non-circular eye which appears fragmented, and is an indicator of a weak or weakening tropical cyclone. An "open eye" is an eye which can be circular, but the eyewall does not completely encircle the eye, also indicating a weakening, moisture-deprived cyclone or a weak but strengthening one. Both of these observations are used to estimate the intensity of tropical cyclones via Dvorak analysis. Eyewalls are typically circular; however, distinctly polygonal shapes ranging from triangles to hexagons occasionally occur.


title: Eye (cyclone)

text: While typical mature storms have eyes that are a few dozen miles across, rapidly intensifying storms can develop an extremely small, clear, and circular eye, sometimes referred to as a "pinhole eye". Storms with pinhole eyes are prone to large fluctuations in intensity, and provide difficulties and frustrations for forecasters.


title: Eye (cyclone)

text: Small/minuscule eyes—those less than 10 nmi (19 km, 12 mi) across—often trigger eyewall replacement cycles, where a new eyewall begins to form outside the original eyewall. This can take place anywhere from fifteen to hundreds of kilometers (ten to a few hundred miles) outside the inner eye. The storm then develops two "concentric eyewalls", or an "eye within an eye". In most cases, the outer eyewall begins to contract soon after its formation, which chokes off the inner eye and leaves a much larger but more stable eye. While the replacement cycle tends to weaken storms as it occurs, the new eyewall can contract fairly quickly after the old eyewall dissipates, allowing the storm to re-strengthen. This may trigger another re-strengthen cycle of eyewall replacement.


title: Eye (cyclone)

text: Eyes can range in size from (Typhoon Carmen) to a mere (Hurricane Wilma) across. While it is uncommon for storms with large eyes to become very intense, it does occur, especially in annular hurricanes. Hurricane Isabel was the eleventh most powerful North Atlantic hurricane in recorded history, and sustained a large, 65–80 km (40–50 mi)-wide eye for a period of several days.


title: Eye (cyclone)

text: Tropical cyclones typically form from large, disorganized areas of disturbed weather in tropical regions. As more thunderstorms form and gather, the storm develops rainbands which start rotating around a common center. As the storm gains strength, a ring of stronger convection forms at a certain distance from the rotational center of the developing storm. Since stronger thunderstorms and heavier rain mark areas of stronger updrafts, the barometric pressure at the surface begins to drop, and air begins to build up in the upper levels of the cyclone. This results in the formation of an upper level anticyclone, or an area of high atmospheric pressure above the central dense overcast. Consequently, most of this built up air flows outward anticyclonically above the tropical cyclone. Outside the forming eye, the anticyclone at the upper levels of the atmosphere enhances the flow towards the center of the cyclone, pushing air towards the eyewall and causing a positive feedback loop.


title: Eye (cyclone)

text: However, a small portion of the built-up air, instead of flowing outward, flows inward towards the center of the storm. This causes air pressure to build even further, to the point where the weight of the air counteracts the strength of the updrafts in the center of the storm. Air begins to descend in the center of the storm, creating a mostly rain-free area—a newly formed eye.


title: Eye (cyclone)

text: There are many aspects of this process which remain a mystery. Scientists do not know why a ring of convection forms around the center of circulation instead of on top of it, or why the upper-level anticyclone only ejects a portion of the excess air above the storm. Many theories exist as to the exact process by which the eye forms: all that is known for sure is that the eye is necessary for tropical cyclones to achieve high wind speeds.


title: Eye (cyclone)

text: The formation of an eye is almost always an indicator of increasing tropical cyclone organisation and strength. Because of this, forecasters watch developing storms closely for signs of eye formation.


title: Eye (cyclone)

text: For storms with a clear eye, detection of the eye is as simple as looking at pictures from a weather satellite. However, for storms with a filled eye, or an eye completely covered by the central dense overcast, other detection methods must be used. Observations from ships and Hurricane Hunters can pinpoint an eye visually, by looking for a drop in wind speed or lack of rainfall in the storm's center. In the United States, South Korea, and a few other countries, a network of NEXRAD Doppler weather radar stations can detect eyes near the coast. Weather satellites also carry equipment for measuring atmospheric water vapor and cloud temperatures, which can be used to spot a forming eye. In addition, scientists have recently discovered that the amount of ozone in the eye is much higher than the amount in the eyewall, due to air sinking from the ozone-rich stratosphere. Instruments sensitive to ozone perform measurements, which are used to observe rising and sinking columns of air, and provide indication of the formation of an eye, even before satellite imagery can determine its formation.


title: Eye (cyclone)

text: "Eyewall replacement cycles", also called "concentric eyewall cycles", naturally occur in intense tropical cyclones, generally with winds greater than 185 km/h (115 mph), or major hurricanes (Category 3 or higher on the Saffir–Simpson hurricane scale). When tropical cyclones reach this intensity, and the eyewall contracts or is already sufficiently small (see above), some of the outer rainbands may strengthen and organize into a ring of thunderstorms—an outer eyewall—that slowly moves inward and robs the inner eyewall of its needed moisture and angular momentum. Since the strongest winds are located in a cyclone's eyewall, the tropical cyclone usually weakens during this phase, as the inner wall is "choked" by the outer wall. Eventually the outer eyewall replaces the inner one completely, and the storm can re-intensify.


title: Eye (cyclone)

text: The discovery of this process was partially responsible for the end of the U.S. government's hurricane modification experiment Project Stormfury. This project set out to seed clouds outside the eyewall, causing a new eyewall to form and weakening the storm. When it was discovered that this was a natural process due to hurricane dynamics, the project was quickly abandoned.


title: Eye (cyclone)

text: Research shows that 53 per cent of intense hurricanes undergo at least one of these cycles during its existence. Hurricane Allen in 1980 went through repeated eyewall replacement cycles, fluctuating between Category 5 and Category 4 status on the Saffir-Simpson scale several times, while Hurricane Juliette (2001) is a documented case of triple eyewalls.


title: Eye (cyclone)

text: A "moat" in a tropical cyclone is a clear ring outside the eyewall, or between concentric eyewalls, characterized by subsidence—slowly sinking air—and little or no precipitation. The air flow in the moat is dominated by the cumulative effects of stretching and shearing. The moat between eyewalls is an area in the storm where the rotational speed of the air changes greatly in proportion to the distance from the storm's center; these areas are also known as "rapid filamentation zones". Such areas can potentially be found near any vortex of sufficient strength, but are most pronounced in strong tropical cyclones.


title: Eye (cyclone)

text: "Eyewall mesovortices" are small scale rotational features found in the eyewalls of intense tropical cyclones. They are similar, in principle, to small "suction vortices" often observed in multiple-vortex tornadoes. In these vortices, wind speeds may be greater than anywhere else in the eyewall. Eyewall mesovortices are most common during periods of intensification in tropical cyclones.


title: Eye (cyclone)

text: Eyewall mesovortices often exhibit unusual behavior in tropical cyclones. They usually revolve around the low pressure center, but sometimes they remain stationary. Eyewall mesovortices have even been documented to cross the eye of a storm. These phenomena have been documented observationally, experimentally, and theoretically.


title: Eye (cyclone)

text: Eyewall mesovortices are a significant factor in the formation of tornadoes after tropical cyclone landfall. Mesovortices can spawn rotation in individual convective cells or updrafts (a mesocyclone), which leads to tornadic activity. At landfall, friction is generated between the circulation of the tropical cyclone and land. This can allow the mesovortices to descend to the surface, causing tornadoes. These tornadic circulations in the boundary layer may be prevalent in the inner eyewalls of intense tropical cyclones but with short duration and small size they are not frequently observed.


title: Eye (cyclone)

text: The "stadium effect" is a phenomenon observed in strong tropical cyclones. It is a fairly common event, where the clouds of the eyewall curve outward from the surface with height. This gives the eye an appearance resembling an open dome from the air, akin to a sports stadium. An eye is always larger at the top of the storm, and smallest at the bottom of the storm because the rising air in the eyewall follows isolines of equal angular momentum, which also slope outward with height.


title: Eye (cyclone)

text: An eye-like structure is often found in intensifying tropical cyclones. Similar to the eye seen in hurricanes or typhoons, it is a circular area at the circulation center of the storm in which convection is absent. These eye-like features are most normally found in intensifying tropical storms and hurricanes of Category 1 strength on the Saffir-Simpson scale. For example, an eye-like feature was found in Hurricane Beta when the storm had maximum wind speeds of only 80 km/h (50 mph), well below hurricane force. The features are typically not visible on visible wavelengths or infrared wavelengths from space, although they are easily seen on microwave satellite imagery. Their development at the middle levels of the atmosphere is similar to the formation of a complete eye, but the features might be horizontally displaced due to vertical wind shear.


title: Eye (cyclone)

text: Though the eye is by far the calmest part of the storm, with no wind at the center and typically clear skies, on the ocean it is possibly the most hazardous area. In the eyewall, wind-driven waves all travel in the same direction. In the center of the eye, however, the waves converge from all directions, creating erratic crests that can build on each other to become rogue waves. The maximum height of hurricane waves is unknown, but measurements during Hurricane Ivan when it was a Category 4 hurricane estimated that waves near the eyewall exceeded 40 m (130 ft) from peak to trough.


title: Eye (cyclone)

text: A common mistake, especially in areas where hurricanes are uncommon, is for residents to exit their homes to inspect the damage while the calm eye passes over, only to be caught off guard by the violent winds in the opposite eyewall.


title: Eye (cyclone)

text: Though only tropical cyclones have structures officially termed "eyes", there are other weather systems that can exhibit eye-like features.


title: Eye (cyclone)

text: Polar lows are mesoscale weather systems, typically smaller than 1,000 km (600 mi) across, found near the poles. Like tropical cyclones, they form over relatively warm water and can feature deep convection and winds of gale force or greater. Unlike storms of tropical nature, however, they thrive in much colder temperatures and at much higher latitudes. They are also smaller and last for shorter durations, with few lasting longer than a day or so. Despite these differences, they can be very similar in structure to tropical cyclones, featuring a clear eye surrounded by an eyewall and bands of rain and snow.


title: Eye (cyclone)

text: Extratropical cyclones are areas of low pressure which exist at the boundary of different air masses. Almost all storms found at mid-latitudes are extratropical in nature, including classic North American nor'easters and European windstorms. The most severe of these can have a clear "eye" at the site of lowest barometric pressure, though it is usually surrounded by lower, non-convective clouds and is found near the back end of the storm.


title: Eye (cyclone)

text: Subtropical cyclones are low-pressure systems with some extratropical characteristics and some tropical characteristics. As such, they may have an eye while not being truly tropical in nature. Subtropical cyclones can be very hazardous, generating high winds and seas, and often evolve into fully tropical cyclones. For this reason, the National Hurricane Center began including subtropical storms in its naming scheme in 2002.


title: Eye (cyclone)

text: Tornadoes are destructive, small-scale storms, which produce the fastest winds on earth. There are two main types—single-vortex tornadoes, which consist of a single spinning column of air, and multiple-vortex tornadoes, which consist of small "suction vortices," resembling mini-tornadoes themselves, all rotating around a common center. Both of these types of tornadoes are theorized to have calm eyes. These theories are supported by doppler velocity observations by weather radar and eyewitness accounts.


title: Eye (cyclone)

text: NASA reported in November 2006 that the Cassini spacecraft observed a "hurricane-like" storm locked to the south pole of Saturn with a clearly defined eyewall. The observation was particularly notable as eyewall clouds had not previously been seen on any planet other than Earth (including a failure to observe an eyewall in the Great Red Spot of Jupiter by the Galileo spacecraft). In 2007, very large vortices on both poles of Venus were observed by the Venus Express mission of the European Space Agency to have a dipole eye structure.


title: Friday I'm in Love

text: "Friday I'm in Love" is a song by British rock band the Cure. Released as the second single from their ninth studio album, "Wish" (1992), in May 1992, the song was a worldwide hit, reaching number six in the UK and number 18 in the United States, where it also topped the Modern Rock Tracks chart. It also won the award for European Viewer's Choice for Best Music Video at the 1992 MTV Video Music Awards.


title: Friday I'm in Love

text: Robert Smith, the song's primary writer, described it in 1992 as both "a throw your hands in the air, let's get happy kind of record" and "a very naïve, happy type of pop song."


title: Friday I'm in Love

text: During the writing process, Robert Smith became convinced that he had inadvertently stolen the chord progression from somewhere, and this led him to a state of paranoia where he called everyone he could think of and played the song for them, asking if they had heard it before. None of them had, and Smith realised that the melody was indeed his. "It's always been paradoxical that it's pushed down people's throats that we're a goth band," Smith observed. "Because, to the general public, we're not. To taxi drivers, I'm the bloke that sings 'Friday I'm in Love'. I'm not the bloke who sings 'Shake Dog Shake' or 'One Hundred Years'."


title: Friday I'm in Love

text: The song was written to be a slower number than its upbeat final rendition. While the track was recorded in D major, the commercially released version sounds a quarter-tone higher (halfway between D and D-sharp) due to Smith forgetting to disengage the vari-speed function on the multi-track recorder after toying with it before the actual recording process took place. When played live, the song is played in its original intended key as opposed to the speed discrepancy heard on the record. The track was produced by David M. Allen and the Cure.


title: Friday I'm in Love

text: "Friday I'm in Love" was the second single taken from the band's ninth studio album, "Wish", and was released in the United Kingdom on 15 May 1992. Unusually, two formats of the song were released on a Friday instead of a Monday, so it debuted on the UK Singles Chart at a low number 31 on the chart week beginning 17 May. The following week, after the other two formats went on sale, the single rose to number eight and peaked at number six during its third week on the chart. In the United States, the song reached number 18 on the "Billboard" Hot 100, giving the band their last American top-40 hit to date. It was also the band's last song (in a string of four) to top the "Billboard" Modern Rock Tracks chart, matching the success of their previous single, "High", with a four-week stint at number one.


title: Friday I'm in Love

text: The video, directed by Tim Pope, features the band performing the song in front of various backdrops on a soundstage, in homage to French silent filmmaker Georges Méliès: the video features the appearance of characters from his "The Eclipse, or the Courtship of the Sun and Moon". Throughout the video the band play with various props and costumes while several extras wander around, causing chaos and ultimately trashing the set. Tim Pope makes a cameo at the beginning, riding a rocking horse and yelling out high-pitched stage directions through a plastic megaphone after inhaling helium from a balloon. The band's Japanese make-up artist also makes an appearance. The final shot is of bassist Simon Gallup crouching and peering into the camera while wearing a bridal veil and holding some champagne. The producer of "Friday, I'm in Love", Dave M. Allen, makes an appearance in the background, also holding up props. Another oddity is the band's name on the drum—a scrawled "The Cures" rather than the band's singular name.


title: LOC: Kargil

text: LOC Kargil is a 2003 Indian Hindi-language historical war film based on the Kargil War fought between India and Pakistan, produced and directed by J. P. Dutta under his banner "J. P. Films". The film features an ensemble cast of Bollywood stars and music composed by Aadesh Shrivastava and Anu Malik, with the former composing the score and the latter composing the songs.


title: LOC: Kargil

text: The film is based on the Indian Army's successful Operation Vijay that was launched in May 1999 in the wake of the Pakistani intrusion and occupation of the strategic heights in the Kargil sector to flush out the Pakistani intruders from the Indian side of the Line of Control (LoC). Upon release, "LOC" received a mixed response critically and commercially. With a running time of 255 minutes, it is one of the longest Indian films ever made and fifth in terms of running time.


title: LOC: Kargil

text: The film opens with a dramatic shot of an Indian soldier's wireless set chirping frantic commands from one of the army bases, calling a patrol to report in while the radio operator lies dead in the snow. After frantic attempts from battalions to locate their lost patrols, the Indian Army HQ in Jammu and Kashmir decides to deploy more troops. Lts. Saurabh Kalia and Amit Bharadwaj are sent on reconnaissance patrols along the Line of Control (LoC). Lt. Kalia's patrol is wiped out while Lt. Bharadhwaj's patrol suffers heavy casualties but manages to return to their base. Pakistani forces begin shelling across the LoC, targeting National Highway 1A (NH-1A). The Indian Army decides to deploy more troops but suffers a rude shock when the company and even battalion-sized patrols are beaten back by the Pakistani intruders who have occupied peaks around the Mushkoh Valley, Kargil, Dras, Kaksar and Batalik. After these terrible reverses, the decision is taken to go ahead with maximum mobilization and move the army's best fighting units into the area of operations. However, orders from Delhi are that Indian soldiers are barred from crossing the LoC during their operations. Most mobilized battalions are completely unaware of the nature and size of the threat. Thus the rationale behind maximum mobilization is questioned by all the battalion commanders.


title: LOC: Kargil

text: The first unit deployed is the 1st battalion, 11 Gorkha Rifles (1/11 GR), who are specialists in high-altitude warfare. 1/11 GR's commanding officer is Col. Lalit Rai, and the battalion has the charismatic and brave Capt. Manoj Pandey leading one of its platoons. Subsequently, the 18th battalion, The Grenadiers (18 Grenadiers), which was in the Kashmir Valley guarding against terrorist infiltration, are deployed in Kargil. The battalion is led by Col. Khushal Thakur, and among the officers and soldiers are men like Lt. Col. R. Vishwanathan, Maj. Rajesh Adhikari, Lt. Balwan Singh, Capt. Sachin Nimbalkar, and Grens. Yogendra Singh Yadav and Manoj Bajpai). 18 Grenadiers are followed by the 17th battalion, Jat Regiment (17 Jat) led by Col. Umesh Singh Bawa with Capt. Anuj Nayyar leading one of its units. 17 Jat is followed by the 13th battalion, Jammu & Kashmir Rifles (13 JAK Rif) commanded by Lt. Col. Yogesh Kumar Joshi with Capt. Vikram Batra leading one of its units. Other battalions are subsequently inducted into the theatre of conflict. The Indian Air Force launches photographic reconnaissance missions to identify the intruders.


title: LOC: Kargil

text: The first assault was carried out by the 1/11 GR advance platoon, led by Lt. Pandey, who first captured Yaldar village and linked up with a beleaguered and severely mauled company from the 3rd battalion, Punjab Regiment (3 Punjab). JCOs from 3 Punjab reveal that earlier patrols from 3 Punjab and 16 Grenadiers had gone missing in the Kukarthang sector. Lt. Pandey's platoon followed the patrol paths and launched an attack on the Kukarthang post, a very heavily defended enemy position supported by mortar units and artillery batteries on the Pakistani side of the LoC. The Gorkhas captured Kukarthang after taking 9 casualties. It is later revealed that the size of the infiltration was much larger than previously thought. Indian Army planners believe that approximately 3,000 members of the Pakistan Army's Northern Light Infantry were involved.


title: LOC: Kargil

text: The second battle was at the strategic Tololing mountain, which sits astride National Highway 1D, the main supply route for the entire northern Kashmir sector, including Siachen and Leh. 18 Grenadiers linked up with the severely beaten 16 Grenadiers and got first-hand knowledge of the situation. A company from 18 Grenadiers, led by Maj. Adhikari attacks Tololing. The company is held up midway due to heavy fog; it waits for clear weather. Intense enemy shelling occurs while the men are resting, causing panic and casualties. They try to move up the mountain but are pushed down by heavy small arms fire from intruders who are well entrenched atop the feature. Subsequent attacks from the Indians are stifled by stiff resistance, and in the absence of artillery support, Maj. Adhikari and Lt. Col. Vishwanathan are killed. 18 Grenadiers make a total of 4 attempts to recapture Tololing but are repeatedly beaten back.


title: LOC: Kargil

text: Meanwhile, a unit from 17 Jat led by Maj. Deepak Rampal captures a Pakistani mortar position. They subsequently liberate an important peak but suffer casualties. Col. Bawa tasks them to capture Pt. 4850.


title: LOC: Kargil

text: 18 Grenadiers are relieved by the 2nd battalion, Rajputana Rifles (2 Raj Rif), commanded by Col. Ravindranath, which moves in with an artillery battery of 110  mm field artillery and acclimatized troops. They launch a multi-pronged attack with artillery support which succeeds but at a heavy cost, with Capt. Vijayant Thapar, Maj. Padmapani Acharya and Maj. Vivek Gupta was killed. All this happens while 13 JAK Rif stands by in case 2 Raj Rif fails. Meanwhile, the Indian Air Force launches combat sorties (Operation Safed Sagar) and bombs enemy positions.


title: LOC: Kargil

text: 13 JAK Rif is blooded at Rocky Knob, where they take the field after suffering heavy casualties. They follow it up with another victory at Point 5140, where Lt. Batra distinguishes himself by taking the south face of the peak without any casualties and is promoted to captain.


title: LOC: Kargil

text: The decisive phase of the war arrives. 18 Grenadiers are assigned to take Tiger Hill, 17 Jat to Three Pimple Complex feature, 1/11 GR to Khalubar Ridge, and 13 JAK Rif to Point 4875. After a heavy artillery barrage, 18 Grenadiers take Tiger Hill, spearheaded by a daring stealth attack by the elite Ghatak section, which includes both Grens. Yogendra Singh Yadav. However, only one member of the section, Gren. Yadav (Manoj Bajpai), survives (despite being shot several times) to link up with the rest of the battalion. 17 Jat suffers heavy casualties with Capt. Nayyar and several others were killed and injured but can secure Three Pimple Complex.


title: LOC: Kargil

text: 1/11 GR link up with 22 Grenadiers at the base of Khalubar Ridge after braving an intense creeping barrage of artillery. Lt. Pandey somehow keeps the sagging morale of the weary unit up till the battalion begins its attack. The plans go awry when Col. Rai, is injured by machine gunfire. Lt. Pandey volunteers to take out the bunkers which are holding up the attack. The machine guns are taken out, but Lt. Pandey and his platoon sergeant Hav. Bhim Bahadur is killed.


title: LOC: Kargil

text: The last battle is fought by 13 JAK Rif at Bunker Complex. The unit gets split up – Capt. Batra is sent to link up with Capt. Nagappa has captured one bunker and is surrounded by the enemy. Batra links up with Nagappa but is pinned down by the heavy enemy fire. He single-handedly takes out two bunkers but is mortally wounded. 13 JAK Rif pursues the fleeing enemy to the LOC, but Col. Y. K. Joshi stops due to orders not to cross it. After that, the 18 Grenadiers, 8 Sikhs,s and 1/11 Gorkha Rifles launch their final attack on Tiger Hill, and they manage to capture it.17 Jat captures Three Pimple Complex. 13 J&K Rifles capture Point 4875. 1/11 GR capture Khalubar Ridge. Finally, India declares Operation Vijay on 14 July 1999 a success.


title: LOC: Kargil

text: Just like J. P. Dutta's previous war movie "Border", the Indian military provided technical and material assistance during the production and filming of "LOC Kargil". Weapons depicted were those used in the Kargil war, like different variants of the INSAS rifle family as well as Swedish Bofors Haubits FH77 artillery guns and BM-21 Grad multiple rocket launchers. Indian Air Force planes like SEPECAT Jaguars in bombing roles and helicopters like Mil Mi-17s and HAL Cheetahs were shown in casualty evacuation roles. Pakistani artillery depicted were Indian field guns and 81 mm mortars. SLRs stood in for the G3 rifles used by the Pakistan Army.


title: LOC: Kargil

text: Shah Rukh Khan was first offered Sanjay Dutt's role, but things couldn't be worked out. Aamir Khan was the initial choice for Karan Nath's role. Rahul Khanna and Arbaaz Khan were signed for the film, but both walked out later. Jackie Shroff was signed for the film but dropped out later. Salman Khan was the original choice for Abhishek Bachchan's role Mukesh Khanna was signed for the film but was later replaced by Raj Babbar. Danny Denzongpa was signed for the film but later opted-out; Sudesh Berry replaced him later.


title: LOC: Kargil

text: The music of this movie was composed by Anu Malik, with lyrics written by Javed Akhtar. The music was released by Saregama label. According to the Indian trade website "Box Office India", with around 15,00,000 units sold, this film's soundtrack album was the year's eighth highest-selling.


title: LOC: Kargil

text: Anupama Chopra of India Today called LOC:Kargil "Wasted effort" and wrote "Stretching to more than four hours, the film feels almost as long as the actual conflict." Anita Bora for Rediff.com wrote, "The battle scenes are gruesome, loud and hammer at you, much like the blazing guns in the background. But a lot has gone into making the scenes as realistic as possible. ... The one negative factor is its length. This might deter many from watching the movie. Possibly a slightly edited version, keeping it within 3 hours is called for".


title: Illinois (Sufjan Stevens album)

text: Illinois (styled Sufjan Stevens Invites You to: Come on Feel the Illinoise on the cover; sometimes spelled as Illinoise) is a 2005 concept album by American singer-songwriter Sufjan Stevens. His fifth studio album, it features songs referencing places, events, and persons related to the U.S. state of Illinois. "Illinois" is Stevens' second based on a U.S. state—part of a planned series of fifty that began with the 2003 album "Michigan" and that Stevens has since acknowledged was a joke.


title: Illinois (Sufjan Stevens album)

text: Stevens recorded and produced the album at multiple venues in New York City using low-fidelity studio equipment and a variety of instruments between late 2004 and early 2005. The artwork and lyrics explore the history, culture, art, and geography of the state—Stevens developed them after analyzing criminal, literary, and historical documents. Following its release, Stevens promoted "Illinois" with a world tour.


title: Illinois (Sufjan Stevens album)

text: Critics praised the album for its well-written lyrics and complex orchestrations. In particular, reviewers noted Stevens' progress as a songwriter since the release of "Michigan". "Illinois" was named the best-reviewed album of 2005 by review aggregator Metacritic, and was included on several reviewers' "best of the decade" lists—including those of "Paste", NPR, and "Rolling Stone". According to aggregate website Acclaimed Music, "Illinois" is the most acclaimed album of 2005, 7th most acclaimed album of 2000s and 95th most acclaimed album in history. The album amounted to Stevens' greatest public success to date; it was his first to place on the "Billboard" 200, and it topped the "Billboard" list of "Heatseekers Albums". The varied instrumentation and experimental songwriting on the album invoked comparisons to work by Steve Reich, Neil Young, and the Cure. Besides numerous references to Illinois, Stevens continued a theme of his songwriting career by including multiple references to his Christian faith.


title: Illinois (Sufjan Stevens album)

text: Stevens launched his 50-state project in 2003 with the album "Michigan" and chose to focus on Illinois with this recording because "it wasn't a great leap", and he liked the state because he considered it the "center of gravity" for the American Midwest. Before creating the album, Stevens read literature by Illinois authors Saul Bellow and Carl Sandburg, and studied immigration records and history books for the state—he made the deliberate decision to avoid current events and focused on historical themes. He also took trips through several locations in Illinois and asked friends and members of Internet chat rooms for anecdotes about their experiences in the state. Although he began work in 2004 on Oregon-themed songs and briefly considered releasing a Rhode Island 7", Stevens has since not released another album focused on a state, saying in a November 2009 interview with "Paste" that "the whole premise was such a joke," and telling Andrew Purcell of "The Guardian" in October 2009 "I have no qualms about admitting [the fifty states project] was a promotional gimmick." An Arkansas-related song was released through NPR as "The Lord God Bird" and material intended for New Jersey and New York became "The BQE".


title: Illinois (Sufjan Stevens album)

text: All of the songs on "Illinois" were written, recorded, engineered, and produced by Stevens, with most of the material being recorded at The Buddy Project studio in Astoria, Queens, and in Stevens' Brooklyn apartment. As with his previous albums, Stevens recorded in various locations, with additional piano recorded in St. Paul's Church in Brooklyn; strings and vocals performed in collaborators' apartments; electronic organ recorded in the New Jerusalem Recreational Room in Clarksboro, New Jersey; and vibraphone played at Carroll Music Studios in New York City. Stevens mostly created the album without collaboration, focusing on the writing, performance, and technical creation of the album by himself: "I was pretty nearsighted in the construction of "Illinois". I spent a lot of time alone, a few months in isolation working on my own and in the studio. I let things germinate and cultivate independently, without thinking about an audience or a live show at all."


title: Illinois (Sufjan Stevens album)

text: Stevens employed low-fidelity recording equipment, which allowed him to retain creative control and keep costs low on recording "Illinois". Typically, his process involved recording to 32 kHz 8-track tape using inexpensive microphones such as the Shure SM57 and AKG C1000. He then employed Pro Tools for mixing and other production tasks.


title: Illinois (Sufjan Stevens album)

text: After consulting with Michael Kaufmann and Lowell Brams of Asthmatic Kitty about the amount of material he had recorded, Stevens decided against a double album, saying that would be "arrogant". In 2006, several tracks recorded during these sessions were sent to Seattle-based musician and producer James McAllister for additional instrumentation and production, and were released in 2006 on the follow-up album "". Among these outtakes are three separate recordings of the song "Chicago"—including the "Multiple Personality Disorder Version", which was produced during a subsequent tour. The "Adult Contemporary Easy Listening Version" of the song was supposed to appear on the "Illinois" album, but was changed at the last minute.


title: Illinois (Sufjan Stevens album)

text: "Illinois" was released on July 4, 2005, through Rough Trade Records in Europe and was distributed domestically by Asthmatic Kitty Records starting July 5, 2005. Although he initially had no plans to perform this material live, less than two weeks after the release of "Illinois", Stevens embarked on a North American tour to promote the album, performing with a string section of eight to ten members named the Illinoisemakers. He deliberately chose to avoid television as a promotional tool and focused on the tour performances themselves. He was supported on some dates by opening acts Liz Janes (who is also signed to Asthmatic Kitty) and Laura Veirs as well as "Illinois" collaborator Shara Nova's solo project My Brightest Diamond. He toured in support of the album again from September through November 2006, this time including dates in several European cities. During the 2006 dates, Stevens and his band transitioned from wearing University of Illinois-themed outfits to butterfly suits and bird wings.


title: Illinois (Sufjan Stevens album)

text: Reviewers have noted similarities between this album and those of musicians and composers in several musical genres—from pop to contemporary classical, even show tunes and jazz-based time signatures. The lyrics and their rich thematic elements have been noted for their literary quality, earning comparisons to Ralph Waldo Emerson, Henry David Thoreau, William Carlos Williams, and Walt Whitman. Genre labels that have been applied to the album include indie folk, indie pop, indie rock, folk rock, , chamber folk, and lo-fi.


title: Illinois (Sufjan Stevens album)

text: Reviewers of "Illinois" have compared Stevens' style to Steve Reich, Vince Guaraldi, the Danielson Famile, Neil Young, Nick Drake, and Death Cab for Cutie. Stevens' use of large orchestral arrangements in his music—much of it played by himself through the use of multi-track recording—has been noted by several reviewers. "Rolling Stone" summarized the musical influences of "Illinois", saying "the music draws from high school marching bands, show tunes and ambient electronics; we can suspect Steve Reich's "Music for 18 Musicians" is an oft-played record in the Stevens household, since he loves to echo it in his long instrumental passages." A review in "The A.V. Club" referred to some of the vocal work as "regressively twee communalism", but found Stevens' music overall to be "highly developed". The song "Come On! Feel the Illinoise!" has a saxophone part resembling "Close to Me" by The Cure.


title: Illinois (Sufjan Stevens album)

text: The creation of "Illinois" marked a shift in Stevens' emphasis on songwriting and studio work toward live performance and more abstract concepts of motion and sound—subsequent tours and albums emphasized electronic music and modern dance over the indie folk material on "Michigan" and "Illinois". He has ceased writing songs about individual characters with straightforward narratives or concept albums and briefly considered quitting the music business entirely after creating and promoting this album. He also found that the way in which he listened to music had changed after producing "Illinois":


title: Illinois (Sufjan Stevens album)

text: Stevens is a classically trained oboist and his knowledge of classical and baroque music influenced many of his arrangements. Stevens himself has noted the influence of composers Igor Stravinsky, Sergei Rachmaninoff, and Edvard Grieg; along with contemporary composers Terry Riley, Steve Reich, and Philip Glass. The music on this album was written to be grandiose, to match the history of the territory. Stevens used time signature changes in the composition of "Illinois" for dynamic effect—for instance, "Come On! Feel the Illinoise!" begins with a 5/4 time signature and then changes to a standard 4/4 later in the song.


title: Illinois (Sufjan Stevens album)

text: Many of the lyrics in "Illinois" make references to persons, places, and events related to the state of the same name. "Concerning the UFO Sighting Near Highland, Illinois" is about a UFO sighting by police officers near Highland, Illinois, where several persons reported seeing a large triangular object with three lights flying at night. "Come on! Feel the Illinoise!" makes reference to the World's Columbian Exposition, which took place in Chicago in 1893.