title: Yeniseian languages

text: It is theorized that the Xiongnu and Hunnic languages were Southern Yeniseian. Only two languages of this family survived into the 20th century: Ket (also known as "Imbat Ket"), with around 200 speakers, and Yugh (also known as "Sym Ket"), now extinct. The other known members of this family—Arin, Assan, Pumpokol, and Kott—have been extinct for over two centuries. Other groups—the Buklin, Baikot, Yarin, Yastin, Ashkyshtym, and Koibalkyshtym—are identifiable as Yeniseic speaking from tsarist fur-tax records compiled during the 17th century, but nothing remains of their languages except a few proper names.


title: Yeniseian languages

text: Ket, the only extant Yeniseian language, is the northernmost known. Historical sources record a contemporaneous northern expansion of the Ket along the Yenisei during the Russian conquest of Siberia. Today, it is mainly spoken in Turukhansky District of Krasnoyarsk Krai in far northern Siberia, in villages such as Kellog and Sulomay. Yugh, which only recently faced extinction, was spoken from Yeniseysk to Vorogovo, Yartsevo, and the upper Ket River.


title: Yeniseian languages

text: The early modern distributions of Arin, Pumpokol, Kott, and Assan can be reconstructed. The Arin were north of Krasnoyarsk, whereas the closely related Pumpokol was spoken to the north and west of it, along the upper Ket. Kott and Assan, another pair of closely related languages, occupied the area south of Krasnoyarsk, and east to the Kan River. From toponyms it can be seen that Yeniseian populations probably lived in Buryatia, Zabaykalsky, and northern Mongolia. As an example, the toponym "ši" can be found in Zabaykalsky Krai, which is probably related to the Proto-Yeniseian word "sēs" "river" and likely derives from an undocumented Yeniseian language. Some toponyms that appear Yeniseian extend as far as Heilongjiang.


title: Yeniseian languages

text: Václav Blažek argues, based on hydronymic data, that Yeniseians were once spread out even farther into the west. He compares, for example, the word "šet", found in more westerly river names, to Proto-Yeniseian "sēs" "river."


title: Yeniseian languages

text: According to a 2016 study, Yeniseian people and their language originated likely somewhere near the Altai Mountains or near Lake Baikal. According to this study, the Yeniseians are linked to Paleo-Eskimo groups. The Yeniseians have also been hypothesised to be representative of a back-migration from Beringia to central Siberia, and the Dené–Yeniseians a result of a radiation of populations out of the Bering land bridge.


title: Yeniseian languages

text: In Siberia, Edward Vajda observed that Yeniseian hydronyms in the circumpolar region (the recent area of distribution of Yeniseian languages) clearly overlay earlier systems, with the layering of morphemes onto Ugric, Samoyedic, Turkic, and Tungusic place names. It is therefore proposed that the homeland, or dispersal point, of the Yeniseian languages lies in the boreal region between Lake Baikal, northern Mongolia, and the Upper Yenisei basin, referred to by Vajda as a territory "abandoned" by the original Yeniseian speakers. On the other hand, Václav Blažek (2019) argues that based on hydronomic evidence, Yeneisian languages were originally spoken on the northern slopes of the Tianshan and Pamir mountains before dispersing downstream via the Irtysh River.


title: Yeniseian languages

text: The modern populations of Yeniseians in central and northern Siberia are thus not indigenous, and represents a more recent migration northward. This was noted by Russian explorers during the conquest of Siberia: the Ket are recorded to have been expanding northwards along the Yenisei, from the river Yeloguy to the Kureyka, from the 17th century onward. Based on these records, the modern Ket-speaking area appears to represent the very northernmost reaches of Yeniseian migration.


title: Yeniseian languages

text: The origin of this northward migration from the Mongolian steppe has been connected to the fall of the Xiongnu confederation. It appears from Chinese sources that a Yeniseian group might have been a major part of the heterogeneous Xiongnu tribal confederation, who have traditionally been considered the ancestors of the Huns and other Northern Asian groups. However, these suggestions are difficult to substantiate due to the paucity of data.


title: Yeniseian languages

text: Alexander Vovin argues that at least parts of the Xiongnu, possibly its core or ruling class, spoke a Yeniseian language. Positing a higher degree of similarity of Xiongnu to Yeniseian as compared to Turkic, he also praised Stefan Georg's demonstration of how the word "Tengri" (the Turkic and Mongolic word for "sky" and later "god") originated from Proto-Yeniseian "tɨŋVr".


title: Yeniseian languages

text: It has been further suggested that the Yeniseian-speaking Xiongnu elite underwent a language shift to Oghur Turkic while migrating westward, eventually becoming the Huns. However, it has also been suggested that the core of the Hunnic language was a Yeniseian language.


title: Yeniseian languages

text: Vajda (et al. 2013) proposed that the ruling elite of the Huns spoke a Yeniseian language and influenced other languages in the region.


title: Yeniseian languages

text: One sentence of the language of the Jie, a Xiongnu tribe who founded the Later Zhao state, appears consistent with being a Yeniseian language. Later study suggests that Jie is closer to Pumpokol than to other Yeniseian languages such as Ket. This has been substantiated with geographical data by Vajda, who states that Yeniseian hydronyms found in northern Mongolia are exclusively Pumpokolic, in the process demonstrating both a linguistic and geographic proximity between Yeniseian and Jie.


title: Yeniseian languages

text: The decline of the southern Yeniseian languages during and after the Russian conquest of Siberia has been attributed to language shifts of the Arin and Pumpokol to Khakas or Chulym Tatar, and the Kott and Assan to Khakas.


title: Yeniseian languages

text: Václav Blažek (2019) suggests that the Botai culture people probably spoke a form of Yeniseian, which can be connected to an Paleo-Siberian/East Asian-related ancestry component (Baikal LN/EBA), which expanded from a region near the Tian Shan and Sayan mountains region into Central Asia and Siberia. This Yeniseian/Botai language contributed some loanwords related to horsemanship and pastoralism, such as the word for horse ("Yeniseian *ʔɨʔχ-kuʔs "stallion" and Indo-European *H1ek̂u̯os "domesticated horse"") itself, towards the proto-Indo-Europeans of the Yamnaya culture.


title: Yeniseian languages

text: The Yeniseian languages share many contact-induced similarities with the South Siberian Turkic languages, Samoyedic languages, and Evenki. These include long-distance nasal harmony, the development of former affricates to stops, and the use of postpositions or grammatical enclitics as clausal subordinators. Yeniseic nominal enclitics closely approximate the case systems of geographically contiguous families. Despite these similarities, Yeniseian appears to stand out among the languages of Siberia in several typological respects, such as the presence of tone, the prefixing verb inflection, and highly complex morphophonology.


title: Yeniseian languages

text: The Yeniseian languages have been described as having up to four tones or no tones at all. The 'tones' are concomitant with glottalization, vowel length, and breathy voice, not unlike the situation reconstructed for Old Chinese before the development of true tones in Chinese. The Yeniseian languages have highly elaborate verbal morphology.


title: Yeniseian languages

text: The following table exemplifies the basic Yeniseian numerals as well as the various attempts at reconstructing the proto-forms:


title: Yeniseian languages

text: The following table exemplifies a few basic vocabulary items as well as the various attempts at reconstructing the proto-forms:


title: Yeniseian languages

text: Until 2008, few linguists had accepted connections between Yeniseian and any other language family, though distant connections have been proposed with most of the ergative languages of Eurasia.


title: Yeniseian languages

text: In 2008, Edward Vajda of Western Washington University presented evidence for a genealogical relation between the Yeneisian languages of Siberia and the Na–Dené languages of North America. At the time of publication (2010), Vajda's proposals had been favorably reviewed by several specialists of Na-Dené and Yeniseian languages—although at times with caution—including Michael Krauss, Jeff Leer, James Kari, and Heinrich Werner, as well as a number of other respected linguists, such as Bernard Comrie, Johanna Nichols, Victor Golla, Michael Fortescue, Eric Hamp, and Bill Poser (Kari and Potter 2010:12). One significant exception is the critical review of the volume of collected papers by Lyle Campbell and a response by Vajda published in late 2011 that clearly indicate the proposal is not completely settled at the present time. Two other reviews and notices of the volume appeared in 2011 by Keren Rice and Jared Diamond.


title: Yeniseian languages

text: The "Karasuk" hypothesis, linking Yeniseian to Burushaski, has been proposed by several scholars, notably by A.P. Dulson and V.N. Toporov. George van Driem, the most prominent current advocate of the Karasuk hypothesis, postulates that the Burusho people were part of the migration out of Central Asia, that resulted in the Indo-European conquest of the Indus Valley.


title: Yeniseian languages

text: As noted by Tailleur and Werner, some of the earliest proposals of genetic relations of Yeniseian, by M.A. Castrén (1856), James Byrne (1892), and G.J. Ramstedt (1907), suggested that Yeniseian was a northern relative of the Sino–Tibetan languages. These ideas were followed much later by Kai Donner and Karl Bouda. A 2008 study found further evidence for a possible relation between Yeniseian and Sino–Tibetan, citing several possible cognates. Gao Jingyi (2014) identified twelve Sinitic and Yeniseian shared etymologies that belonged to the basic vocabulary, and argued that these Sino-Yeniseian etymologies could not be loans from either language into the other. A link between the Na–Dené languages and Sino–Tibetan languages, known as Sino–Dené had also been proposed by Edward Sapir. Around 1920 Sapir became convinced that Na–Dené was more closely related to Sino–Tibetan than to other American families. Edward Vadja's Dené–Yeniseian proposal renewed interest among linguists such as Geoffrey Caveney (2014) to look into support for the Sino–Dené hypothesis. Caveney considered a link between Sino–Tibetan, Na–Dené, and Yeniseian to be plausible but did not support the hypothesis that Sino–Tibetan and Na–Dené were related to the Caucasian languages (Sino–Caucasian and Dené–Caucasian).


title: Yeniseian languages

text: Bouda, in various publications in the 1930s through the 1950s, described a linguistic network that (besides Yeniseian and Sino-Tibetan) also included Caucasian, and Burushaski, some forms of which have gone by the name of Sino-Caucasian. The works of R. Bleichsteiner and O.G. Tailleur, the late Sergei A. Starostin and Sergei L. Nikolayev have sought to confirm these connections. Others who have developed the hypothesis, often expanded to Dené–Caucasian, include J.D. Bengtson, V. Blažek, J.H. Greenberg (with M. Ruhlen), and M. Ruhlen. George Starostin continues his father's work in Yeniseian, Sino-Caucasian and other fields.


title: Close-mid back unrounded vowel

text: The close-mid back unrounded vowel, or high-mid back unrounded vowel, is a type of vowel sound, used in some spoken languages. Its symbol in the International Phonetic Alphabet is , called "ram's horns." This symbol is distinct from the symbol for the voiced velar fricative, , which has a descender, but some texts use this symbol for the voiced velar fricative.


title: Close-mid back unrounded vowel

text: Before the 1989 IPA Convention, the symbol for the close-mid back unrounded vowel was , sometimes called "baby gamma", which has a flat top; this symbol was in turn derived from and replaced the inverted small capital A, ⟨⟩, that represented the sound before the 1928 revision to the IPA. The symbol was ultimately revised to be , "ram's horns", with a rounded top, in order to better differentiate it from the Latin gamma .


title: Close-mid back unrounded vowel

text: Unicode provides , but in some fonts this character may appear as a "baby gamma" instead. The superscript IPA version is .


title: Wall stud

text: A wall stud is a vertical repetitive framing member in a building's wall of smaller cross section than a post. It is a fundamental element in frame building.


title: Wall stud

text: "Stud" is an ancient word related to similar words in Old English, Old Norse, Middle High German, and Old Teutonic generally meaning "prop" or "support". Other historical words with similar meaning are "quarter" and "scantling" (one sense meaning a smaller timber, not necessarily the same use). "Stick" is a colloquial term for both framing lumber (timber) and a "timber tree" (a tree trunk good for using as lumber (timber)); thus, the names ""stick and platform"", ""stick and frame"", ""stick and box"", or simply "stick framing". The stud height usually determines the ceiling height, thus sayings like: "...These rooms were usually high in stud..."


title: Wall stud

text: Studs form walls and may carry vertical structural loads or be non load-bearing, such as in partition walls, which only separate spaces. They hold in place the windows, doors, interior finish, exterior sheathing or siding, insulation and utilities and help give shape to a building. Studs run from sill plate to wall plate. In modern construction, studs are anchored to the plates in a way, such as using fasteners, to prevent the building from being lifted off the foundation by severe wind or earthquake.


title: Wall stud

text: Studs are usually slender, so more studs are needed than in post and beam framing. Sometimes studs are long, as in balloon framing, where the studs extend two stories and carry a ledger which carries joists. Balloon framing has been made illegal in new construction in many jurisdictions for fire safety reasons because the open wall cavities allow fire to quickly spread such as from a basement to an attic; the plates and platforms in platform framing provide a passive fire stop inside the walls, and so are deemed much safer by fire safety officials. Being thinner and lighter, stick construction techniques are easier to cut and carry and is speedier than the timber framing.


title: Wall stud

text: In the United States and Canada, studs are traditionally made of wood, usually 2×4 or 2×6 by name; however, these historical dimensions have been reduced but still carry the name of "two by four" and "two by six". Typical dimensions of today's "two by four" is dimensional lumber prior to sanding and are typically placed from each other's center, but sometimes also at or . The wood needs to be dry when used, or problems may occur as the studs shrink and twist as they dry out. Steel studs are gaining popularity as a non-combustible alternative, especially for non load-bearing walls, and are required in some firewalls.


title: Wall stud

text: In New Zealand, the required lumber size and spacing of wall studs are determined using NZS 3604 "Timber-framed buildings" table 8.2 for loadbearing walls and table 8.4 for non-loadbearing walls.


title: Wall stud

text: Studs are the vertical members of a timber or metal framed wall. The studs are spaced equally to suit the dimensions of the covering sheet materials, usually 600mm between the centers.


title: Wall stud

text: A building technique mostly associated with Lincolnshire, England, and parts of Scotland gets part of its name from the studs: "mud and stud" ("stud and mud"). This building method uses studs in a framework which is then totally covered with mud which resembles the building material cob. Another traditional building method is called "stud and plaster" where the plaster walls are held by lath on the studs. Studs are also the namesake of a type of timber framing called close studding.


title: Wall stud

text: Based on the American West Coast Lumber Inspection Bureau (WCLIB) grading rules, there is only one grade of stud: STUD. A stud is graded for vertical application and its stress requirements and allowable visual defects reflect that application. A stud is most similar to a #2 grade, which is held to a higher standard during grading. The biggest difference between the two is the frequency, placement and size of knots and overall allowable wane.


title: Crazy for You (Madonna song)

text: "Crazy for You" is a song recorded by American singer Madonna for the film "Vision Quest" (1985). It was released on March 2, 1985 by Geffen Records as the lead single from the film's soundtrack album. Film producers Jon Peters and Peter Guber, along with music director Phil Ramone, decided to use Madonna after listening to her previous recordings, employing John Bettis and Jon Lind to write the song. After reading the script of the film, Bettis and Lind wrote the song about the situation in which the lead characters meet at a nightclub. Initial recording sessions did not impress Bettis and Lind, and they felt that "Crazy for You" would be dropped from the soundtrack. However, a new version was recorded to their liking.


title: Crazy for You (Madonna song)

text: John "Jellybean" Benitez was the record producer of "Crazy for You", and it was a challenge for him, as previously he was associated with recording dance-pop songs only. Initially Warner Bros. Records did not want the song to be released as a single, since they believed that it would take away the attention from Madonna's second studio album "Like a Virgin" (1984). In the end, Peters and Guber convinced Warner officials to greenlight its release. "Crazy for You" ushered a new musical direction for Madonna, as she had not previously released a ballad as a single. The track features instrumentation from snare drums, harp, bass synthesizer and electric guitar. Lyrically, the song speaks of sexual desire between two lovers and consists of innuendos.


title: Crazy for You (Madonna song)

text: "Crazy for You" received positive response from music critics and earned Madonna her first Grammy Award nomination in the Best Female Pop Vocal Performance category. The song became Madonna's second number-one single on the U.S. "Billboard" Hot 100, and reached the top of the charts of Australia and Canada. It also peaked at number two in Ireland, New Zealand and the United Kingdom, where it was released twice, in 1985 and 1991. Madonna has performed "Crazy for You" during the Virgin Tour in 1985, Re-Invention World Tour in 2004 and in some dates of Rebel Heart Tour in 2016. The performance from The Virgin Tour was included in the on VHS and LaserDisc. "Crazy for You" appears on the compilation albums "The Immaculate Collection" (1990), "Something to Remember" (1995) and "Celebration" (2009). "Crazy for You" has also been covered by a number of artists.


title: Crazy for You (Madonna song)

text: "Crazy for You" was written by John Bettis and Jon Lind. The ballad was released as the first single from the soundtrack of the 1985 film "Vision Quest", a coming of age drama about a high school wrestler, played by Matthew Modine. Film producers Jon Peters and Peter Guber and music director Phil Ramone were aware of the then unknown Madonna, who was just signed to Sire Records. Ramone took her for dinner at his house in Carolwood Records, where she played some of her music videos. Ramone and the other Warner executives present there, were impressed by Madonna's self-possession and fishnet-crucifix style, and they decided to test her voice in a New York studio. Peters assigned Joel Sill, an executive in charge of music at Warner Bros. Pictures, to handle the recording of the two songs for the film. Sill sent the script of the film to Bettis and Lind. After reading through the script, Bettis wanted to write a song about the situation where the main characters – a young boy and a girl boarding at a house – dance together at a nightclub. He elaborated:


title: Crazy for You (Madonna song)

text: "We were noodling around and 'Crazy for You' was something that Jon was singing over that section of the song. It was really descriptive of the scene in the film. [...] After that, I was out on vacation out in the desert and [Sill] called and said Phil Ramone was in love with the song and wanted to cut it on Madonna. [Laughing] 'Borderline' was out at that time and I said, 'Excuse me? This is for Madonna? Really? Can she sing a song like this?' Jon and I were surprised at the choice of artist at the time, if you want to know the truth."


title: Crazy for You (Madonna song)

text: After Sill let Bettis and Lind know that Madonna was singing the song, some time elapsed before either of them heard anything from Warner Bros. Records. In between, they went to one of the recording sessions and were not impressed with the process of recording the song. Bettis commented, "We went to one of the sessions, and to be honest, that particular session did not go all that well. [...] Jon and I were depressed about the way the song had come out. We heard nothing else about it and we were a little nervous that the song was going to be dropped from the picture." Bettis went to England to work on the 1985 fantasy film "Legend" with music producer Jerry Goldsmith. It was there he received a call from Lind, who informed Bettis that a new version of "Crazy for You" was recorded and was made ready for a single release. Bettis was surprised and went over to Lind's house, where he warmly received the new recorded version of the song. It had a different arrangement from the demo version, and the arrangement was done by composer Rob Mounsey who rearranged the original track and added the background vocals. Bettis said: "We owe a big debt of gratitude to [Mounsey]. He really made a hit record out of [the song]." Mounsey was introduced in the project by record producer John "Jellybean" Benitez who was producing "Crazy for You". Benitez was previously associated with producing dance-pop themed songs and it was the first time that he produced a ballad. In Fred Bronson's "The Billboard Book of Number 1 Hits", Benitez commented,


title: Crazy for You (Madonna song)

text: "The song was recorded live. It was the first time that I produced a live session, as opposed to having synthesizers and drum machines do everything. [...] I was tense because I had never done a record like this. [...] Everything I did was totally on instinct. I tried to make the song stand on its own, but at the same time work in the two scenes in which it was used in the movie."


title: Crazy for You (Madonna song)

text: Benitez also noted that "Crazy for You" was an important recording for Madonna, as the song being a ballad, was openly accepted at adult contemporary radios. She had already charted with her singles "Like a Virgin" and "Material Girl", hence Madonna wanted to prove that she can sing in a different genre of music. However, Warner initially did not want the song to be released as a single, since the release of "Vision Quest" coincided with the release of Madonna's second studio album "Like a Virgin" and releasing "Crazy for You" would have distracted attention from the album. Warner Bros. Records chief Mo Ostin went to Robert A. Daly, chairman of Warner, and requested him to pull out the Madonna tracks from the "Vision Quest" soundtrack. Daly summoned Peters and Guber to his office and informed them that they had to let-go of the Madonna tracks. Peters protested and shouted at Daly, resulting him escaping in fright and Warner allowing "Crazy for You" to be released as a single.


title: Crazy for You (Madonna song)

text: "Crazy for You" was a new musical direction for Madonna, as she had not recorded ballad songs before. According to author Rikky Rooksby, the song is sophisticated compared to her previous singles. The introduction features a melody by a woodwind instrument and an electric guitar chord, sliding from one motif to the other. It has a snare drum on the last beat of the bar, leading to the spacey quality to most of the verses. Other instrumentation comes from a harp, a bass synthesizer and a chattering single note guitar lick. The fuller rhythm of the song does not start, until the chorus is reached. The turn of the melody allows Madonna's voice to stretch further on the higher notes.


title: Crazy for You (Madonna song)

text: According to the sheet music published at Musicnotes.com by Alfred Publishing, "Crazy for You" is set in the time signature of common time, with a medium tempo of 104 beats per minute. It is set in the key of E major with Madonna's voice spanning between the high note of C to the low note of G. The song has a basic sequence of E–A–B–A as its chord progression. Unlike her previous singles, the chord sequence does not repeat itself and the chorus slowly unravels to the climax of the song. Lyrically, the song talks about extreme love for one another. It contains innuendos similar to the Crystals' 1963 song "Then He Kissed Me". According to scholar Dave Marsh, the lyrics talk about frank sexual desire among two teenagers. He believed that the line "I'm crazy for you, Touch me once and you'll know it's true" was not ambiguous and it helped Madonna to capitalize on such disambiguation.


title: Crazy for You (Madonna song)

text: Keith Caulfield of "Billboard" said that "Crazy for You" is "perhaps the ultimate slow-dance song." "Cash Box" said that "though less infectiously danceable than her other two current singles 'Like a Virgin' and 'Material Girl'], 'Crazy For You' displays Madonna's voice in a different context, one that is more mature and ultimately marketable." Rikky Rooksby, author of "The Complete Guide to the Music of Madonna", called the song sophisticated. Alex Henderson of Allmusic felt that the other Madonna song on the "Vision Quest" soundtrack, "Gambler", should have been the more successful single. Biographer J. Randy Taraborrelli characterized the song as "sassy" and commented that the song provided proof that Madonna was vocally capable of delivering a serious ballad. Author Andrew Morton believed that the song cemented Madonna as a talented and serious singer which "had been missing from her past recordings." Allen Metz and Carol Benson, authors of "The Madonna Companion: Two Decades of Commentary", said that the song sounded like a "remake of sweet-sixteen Connie Francis tune, dripping with old-fashioned, hand-held romance" especially in the line "It's so brand new; I'm really crazy for you." Edna Gundersen from "USA Today" felt that the song is "touching and beautifully arranged."


title: Crazy for You (Madonna song)

text: Dave Marsh, author of "The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made", felt that with the coda of the song, Madonna transformed her record into an adult love song. William McKeen, author of "Rock and Roll is Here to Stay: An Anthology", said that the song "offered an aggressive sexuality for women". Maria Raha, author of "Cinderella's Big Score: Women of the Punk and Indie Underground", said that with the song, "Madonna brought a trunk full of trite lyrics on the long-standing tradition of pop music, love."


title: Crazy for You (Madonna song)

text: "Crazy for You" was nominated for Best Female Pop Vocal Performance at 1986 Grammy Awards, but lost to Whitney Houston's "Saving All My Love for You". The song was ranked number 38 on VH1's "100 Greatest Love Songs", and during the special it was revealed that "Crazy for You" was recorded in one take. In 2003, Madonna fans were asked to vote for their Top 20 Madonna singles of all time by "Q"; "Crazy for You" was allocated the eleventh spot.


title: Crazy for You (Madonna song)

text: In the United States, "Crazy for You" became Madonna's second number-one single on the "Billboard" Hot 100. The song debuted on the chart at number 55 on the issue dated March 2, 1985. After 11 weeks, the song reached the top of the chart, replacing "We Are the World" by USA for Africa. "Crazy for You" was the second number-one song for Bettis as a songwriter, after "Top of the World" by the Carpenters (1973). With "Crazy for You", Bettis was in doubt whether the song would reach the top, after it was stuck at number two for three weeks, behind "We Are the World". Both he and Lind commented, "If you gotta lose to something, it might as well be 'We Are the World'. Luckily enough, the final week of the upsurge of the record, we topped 'We Are the World', which lets you know how hot the song and how hot the artist [Madonna] was."


title: Crazy for You (Madonna song)

text: "Crazy for You" was certified gold by the Recording Industry Association of America (RIAA) on July 16, 1985, for shipment of one million copies of the single across United States—the requirement for a gold single prior to 1989. The song reached number two on the Adult Contemporary Singles (behind "Rhythm of the Night" by DeBarge), and 80 on the Hot R&B/Hip-Hop Songs chart. It placed at nine on the year-end chart for 1985, with Madonna becoming the top pop artist for the year. In Canada, the song debuted at number 70 on the "RPM" issue dated March 16, 1985. On its eleventh week on the chart, the song reached the top position. It was present on the chart for a total of 25 weeks and was ranked seventh on the "RPM" Year-end chart for 1985. A music video was released, featuring Madonna singing the song in a night-club. The video was included in "", released in 2009.


title: Crazy for You (Madonna song)

text: "Crazy for You" reached number one in Australia and displaced another Madonna release, "Angel"/"Into the Groove", from the top spot on the Kent Music Report chart, making Madonna one of the few acts in Australian chart history to replace themselves at the number-one spot. After the song was released in the United Kingdom on June 8, 1985, it debuted at number 25 and peaked at number two. On February 18, 1991, the QSound version of the song (as remixed by Shep Pettibone for "The Immaculate Collection") was released and debuted in the peak position of number two in the Official UK Singles chart. It would equal the chart position of the 1985 original, as it was kept off the number-one slot by another record from the 1980s, namely "Should I Stay or Should I Go" by the Clash. "Crazy for You" was certified gold by the British Phonographic Industry (BPI) for shipment of 500,000 copies across United Kingdom. "Crazy For You" was 16th-best-selling single of 1985 in United Kingdom. Such was Madonna's popularity that when "Vision Quest" was released on home video in the UK it was renamed as "Crazy for You", to cash in on her success. According to the Official Charts Company, the song had sold 782,000 copies there as of August 2017. "Crazy for You" was also a number-two hit in Ireland and New Zealand. The song reached the top 20 in Belgium, Europe, Japan, Netherlands, Spain, Sweden and Switzerland and top 40 in Austria, France and Germany.


title: Crazy for You (Madonna song)

text: Madonna first performed "Crazy for You" on the Virgin Tour in 1985. She wore a black top and long black skirt with her hair in knots and a crucifix attached. After an energetic performance of "Lucky Star", Madonna sat on some steps and sang "Crazy for You". Paul Grein, music editor of "Billboard", commented that "She was at her best on 'Crazy for You', making good use of a deeper, huskier vocal quality that mirrors the song's deeper lyrical approach. The performance was included in the VHS release "" recorded in Detroit, Michigan.


title: Crazy for You (Madonna song)

text: In the Re-Invention World Tour of 2004, Madonna performed the song in the last segment of the show, the "Scottish" segment. During that segment, she wore a Scottish kilt and a t-shirt which had different captions in different venues; usually it had the caption "Kabbalists Do It Better", however she also had "Brits Do It Better" and "Irish Do It Better" on the British and Irish stops of the tour, respectively. Generally after finishing the performance of "Papa Don't Preach", Madonna would dedicate the next song to the fans of twenty years, and start singing "Crazy for You" on top of a rising platform. At the end of the performance, she would usually throw her t-shirt to the audience. The performance was excluded from the album of the documentary on the tour titled "I'm Going to Tell You a Secret", which was released in 2006.


title: Crazy for You (Madonna song)

text: On February 25, 2016, Madonna performed "Crazy for You" during the Manila stop of her Rebel Heart Tour as a tribute to the 30th anniversary of the 1986 EDSA Revolution. Before the performance she said; "I believe 30 years ago you fought for your freedom, am I correct? It's called People Power Freedom [sic], did I say that right? Up with democracy and freedom! That is the revolution of love. And that's what a rebel heart fights for. So on this very special occasion, I want to sing this song".


title: Crazy for You (Madonna song)

text: Philippine acoustic band MYMP recorded a cover version and released it their album "New Horizon" (2006). In 2007, Groove Armada recorded a cover with Alan Donohoe of art rock band the Rakes on vocals for the compilation "Radio 1 Established 1967". New Found Glory recorded a pop punk cover of the song with Max Bemis for their 2007 album "From the Screen to Your Stereo Part II". A cover of the song by Lion of Panjshir was included on the 2007 Madonna tribute compilation "Through the Wilderness". Madonna impersonator Melissa Totten did a Hi-NRG cover for her 2008 dance album, "Forever Madonna". An instrumental version was played in the "Full House" episode "13 Candles" when Kimmy dares D.J. to kiss Kevin at her party. The original Madonna recording was also featured in the 2004 film "13 Going on 30", starring Jennifer Garner. At the end of the film, the song is played again, but to signify Jenna Rink's life staying on the "good path" 17 years later, and a bigger, modern rock/string orchestration by the film's composer Theodore Shapiro is added. Kelly Clarkson covered the song during her 2012 Stronger Tour per fan request in Bossier City, Louisiana. "Crazy for You" was also featured in the 2016 web film "The Do-Over" with vocals by Adam Sandler and David Spade.


title: Ian

text: Ian or Iain is a name of Scottish Gaelic origin, derived from the Hebrew given name (Yohanan, "") and corresponding to the English name John. The spelling Ian is an Anglicization of the Scottish Gaelic forename "Iain". It is a popular name in Scotland, where it originated, as well as other English-speaking countries.


title: Ian

text: The name has fallen out of the top 100 male baby names in the United Kingdom, having peaked in popularity as one of the top 10 names throughout the 1960s. In 1900, Ian was the 180th most popular male baby name in England and Wales. , the name has been in the top 100 in the United States every year since 1982, peaking at 65 in 2003.


title: Ian

text: Other Gaelic forms of "John" include "Seonaidh" ("Johnny" from Lowland Scots), "Seon" (from English), "Seathan", and "Seán" and "Eoin" (from Irish). Its Welsh counterpart is Ioan, its Cornish equivalent is Yowan and Breton equivalent is Yann.


title: Sergey Aksyonov

text: Sergey Valeryevich Aksyonov (, , ; born 26 November 1972) is a Russian politician serving, since 9 October 2014, as the Head of the Russian-annexed, but internationally unrecognised, Republic of Crimea.


title: Sergey Aksyonov

text: Sergey Aksyonov was born in Bălți in the Moldavian SSR on 26 November 1972. His father was the leader of a group called the "Russian Community of Northern Moldova" in Bălți.


title: Sergey Aksyonov

text: In 1989, he moved to Crimea and enrolled in a college for military engineers in Simferopol; however, the fall of the Soviet Union occurred before he could graduate from the academy to become a Soviet Army officer. He then refused to swear an oath of allegiance to Ukraine, which he considered 'an unjustly severed appendage of Russia'.


title: Sergey Aksyonov

text: From 1993 to 1998, he was deputy director of a company named "Ellada", a business related to food products. From October 1998 to March 2001, he was deputy director of the "Asteriks" company and since April 2001 he has been deputy director of the "Eskada" company. Aksyonov is also the head of Crimea's Greco-Roman wrestling organization, Sports club Hwarang-do. Aksyonov received his Ukrainian passport on 12 August 1997.


title: Sergey Aksyonov

text: Sources have alleged that Aksyonov served in the mid 1990s as a lieutenant, or overseer, with the nickname "Goblin" in the organized criminal gang "". Aksyonov has denied the allegations. Ukrainian politician and former chief of militsiya in Crimea, Hennadiy Moskal (1997–2000) claims that Aksyonov had connection with the criminal world. In 1995, some members of Salem had taken office as local deputies, receiving Legislative immunity. "Aksyonov reportedly used to work side-by-side with another gang member, Serhiy Voronkov, in the early 1990s. According to "Kyiv Post", Voronkov is a well-known mafia boss who was released from prison in 2008 and is still doing business in Crimea," said Andrei Yanitskiy, a journalist of Livy Bereh newspaper who investigated Aksyonov. A native of Sevastopol, Yanitskiy alleges that Aksyonov is still a member of the Salem gang.


title: Sergey Aksyonov

text: According to Mikhelson, Aksyonov started his criminal career in the gang "Greki" ("Greeks") that was created in Crimea by the Savopulo brothers, and only later Aksyonov switched to more notorious "Salem". In 1994, authorities were suspecting him and Aleksey Zhuk in the killing of Oleg Fenyuk through a contract. Although the Greki were liquidated, unlike many others Aksyonov managed to survive. The same Zhuk was killed 10 minutes after his phone talk with Aksyonov, which raised suspicions among the former "partners".


title: Sergey Aksyonov

text: In January 1996, Aksyonov was wounded after a Volvo car in which he was driving overturned on the Simferopol–Moscow highway () during a shootout. According to official documents, the intended target was Samhan Mazahir-oglu Agaev (nicknamed "Sani"). Beside Agaev and Aksyonov, Aleksandr Bogomol and Pahrutdin Aliev were also in the vehicle. The hit was conducted with automatic weapons by militants of the "Greki" gang Ruslan and Rusel from Yevpatoria who were driving a black . The hit was contracted by Ivan Savopulo. Both Ruslan and Rusel were arrested on 24 January 1996, but were released due to lack of evidence.


title: Sergey Aksyonov

text: In 1997, the chief of Bakhchysarai patrolling unit Berezhnoi claimed that Aksyonov, with a former Major of militsiya, Vladimir Berenshtein ("Ben"), killed a chief of the Crimea network of heat supply Kuzin and a director of an alcoholic factory. A HUBOZ operative stated that Aksyonov kept close relations with Sergei Voronkov ("Voronok") and the "godfather" of Salem Vyacheslav Sheviev (leader of Party of Economic Revival).


title: Sergey Aksyonov

text: Around that time, Aksyonov started to buy and stockpile weapons. There is suspicion that the regional office of General Prosecutor of Ukraine received $60,000 to discontinue the investigation into the murder of Volodymyr Tykhonchuk. Aksyonov also received all the assets of Agaev who was killed in the spring of 1997. By 1998, both Salem and Bashmaki had become the most powerful gangs in Crimea and the President of Ukraine was forced to send special operations units of militsiya and the Security Service of Ukraine to restore order in the region.


title: Sergey Aksyonov

text: Aksyonov sued Mikhail Bakharev, Vice Speaker of the Crimean Parliament in 2010, for alleging such improprieties. Although the court of the original jurisdiction ruled for Aksyonov and demanded that Bakharev publish a retraction, the decision was overturned by an appellate court which determined that there was no evidence to disprove the allegations. Andriy Senchenko, a Crimean member of Verkhovna Rada from Batkivshchyna party alleged that Aksyonov was involved in these activities together with Supreme Council Chairman, Vladimir Konstantinov. Senchenko alleges that "there were reports that he participated in the contract killing of (Volodymyr) Tykhonchuk [in 2004], then head of Crimean State Securities Commission, and before that in the killing of head of State Property Fund (Oleksiy) Golovizin [in 1997]." Aksyonov was investigated by the police for both murders, but has never been prosecuted. Senchenko believes Aksyonov managed to evade criminal responsibility due to his connections on the peninsula.


title: Sergey Aksyonov

text: During the armed occupation of the Crimean parliament by Russian forces under his command, Aksyonov was voted into office following a vote of no confidence in the new Ukrainian government. Already having well documented links to organized crime, since 5 March 2014, he has been wanted by the Ukrainian Security Service after being charged under Part 1 of Article 109 of the Criminal Code of Ukraine ("Actions aimed at the violent overthrow, change of constitutional order, or the seizure of state power").


title: Sergey Aksyonov

text: In 2008, he became a member of the "Russian Community of Crimea" ("Русская община Крыма") and a member of public organisation "Civic Asset of Crimea" ("Гражданский актив Крыма").


title: Sergey Aksyonov

text: Mykola Kirilchuk, a former Crimean Minister of Industry, stated that in 2008–2009 Aksyonov borrowed almost $5 million from him to develop the Russian Unity party. Kirilchuk has since fled Crimea and has been trying to get his money back though the court system. Since 2009, he has been a member of the board in "Гражданский актив Крыма", co-president of Coordinating Council "За русское единство в Крыму!" ("For Russian Unity in Crimea!"), and leader of the all-Crimean public political movement Russian Unity ("Русское единство").


title: Sergey Aksyonov

text: Since 2010, Aksyonov had been a deputy of the Supreme Council of Crimea, elected as a member of Russian Unity, which had 4% of votes (warranting 3 seats of total 100 in Crimean parliament) during elections into Supreme Council of Crimea.


title: Sergey Aksyonov

text: During a talk show on the TV channel ATR on 3 March 2012, Aksyonov commented about a possible accession of Crimea to Russia: "I think the time for this process has already passed. Today we live in Ukraine. I have a Ukrainian passport, Ukrainian citizenship, so all problems should be discussed only in friendly relations between our countries".


title: Sergey Aksyonov

text: Following the Ukrainian revolution, on 27 February an emergency session was held in the Crimean legislature while it was occupied by Russian forces without insignias. After sealing the doors and confiscating all mobile phones, the MPs who had been invited by Aksyonov to enter the building, passed the motion in the presence of the gunmen armed with Kalashnikov assault rifles and rocket launchers. The result was that 55 of 64 votes elected Aksyonov Prime Minister. Various media accounts have disputed whether he was able to gather a quorum of 50 of his peers before the session convened that day, and some Crimean legislators who were registered as present have said they did not come near the building. Others denied being in the city, and claimed that duplicate voting cards stolen from the Parliament's safe were used in their name. Opposition deputies have avoided speaking out publicly out of fear of reprisal, due to threats received. Crimean Prime Minister Anatolii Mohyliov was barred from attending the session.


title: Sergey Aksyonov

text: Under the Ukrainian constitution, the Prime Minister of Crimea is appointed by the autonomous republic's parliament following consultations with the President of Ukraine. The Director of the Information Analysis department of the legislature's secretariat, Olha Sulnikova, has stated that an agreement exists with ousted president Viktor Yanukovych. The interim President of Ukraine, Oleksandr Turchynov decreed the appointment of Aksyonov as the head of the government of Crimea to be unconstitutional.


title: Sergey Aksyonov

text: On 5 March 2014, the Shevchenko district court of Kyiv issued a warrant for Aksyonov and Vladimir Konstantinov's arrest, and the Security Service of Ukraine was charged to bring them to court.


title: Sergey Aksyonov

text: Due to the Crimean crisis, on 17 March 2014, he was put on Canadian, EU and US sanction lists; his assets in these countries were frozen, and Aksyonov was banned from entering these countries.


title: Sergey Aksyonov

text: In the 2014 Crimean parliamentary election, Aksyonov ran as a candidate for United Russia because, according to himself, "The Popular Front" had delegated him to the United Russia party list.


title: Sergey Aksyonov

text: Sergey Aksyonov was re-elected after the 2019 Crimean parliamentary election. But, during his second term, he refused to combine the positions of Head of the Republic and Prime Minister. The new Prime Minister was appointed Yury Gotsanyuk.


title: Sergey Aksyonov

text: Aksyonov has promised that Ukrainian would cease to be an official language if Crimea joined Russia. "We use two languages on a daily basis – Russian and Crimean Tatar," Aksyonov said. "It's certain that the republic [of Crimea] will have two languages." Aksyonov's main goals for the immediate future of Crimea is to "use the funds, allocated for construction of infrastructures, for healthcare, energy and so on." Aksyonov has also pushed for the Crimean Bridge to be completed by 2018.


title: Sergey Aksyonov

text: Sergey Aksyonov has led efforts to stamp out dissent among ethnic Crimean Tatars over the annexation, saying "All activities aimed at non-recognition of Crimea's joining to Russia and non-recognition of the leadership of the country will face prosecution under the law and we will take a very tough stance on this."


title: Sergey Aksyonov

text: Aksyonov says homosexuals "have no chance" in Crimea, and that "we in Crimea do not need such people." He also promised that if gays tried to hold public gatherings, "our police and self-defense forces will react immediately and in three minutes will explain to them what kind of sexual orientation they should stick to."


title: Avrodh: The Siege Within

text: Avrodh: The Siege Within is an Indian Hindi-language military drama streaming television series which premiered on SonyLIV on 31 July 2020. The series, directed by Raj Acharya and produced by Applause Entertainment, Irada Entertainment and Mehra Entertainment, is a retelling of the 2016 Uri attack and the following surgical strikes. It is based on a chapter from the book "India’s Most Fearless" by Shiv Aroor and Rahul Singh. A standalone sequel, titled "," was released in June 2022.


title: Avrodh: The Siege Within

text: "Avrodh" is based on the chapter "We Don’t Really Know Fear" from Shiv Aroor and Rahul Singh's "India's Most Fearless". The first seven episodes of the nine-part series delve into the planning of the strike, while the last two cover the strike itself. Each episode has an effective runtime of 23 to 25 minutes. While the planning continues at the highest levels of government in New Delhi, the mission is kept secret from even the senior most ministers. The story covers the death of a militant leader, Bilawal Wani, and the aftermath, the functioning of militant and terrorist groups in Jammu and Kashmir, Pakistan's involvement in cross border attacks, international pressure, and even the domestic bureaucratic angle and how journalists fit into the picture. The weapons that were part of the cross border strikes is seen, including M4A1s, Galils and TAR-21s.


title: Avrodh: The Siege Within

text: Promotion of the web-series was done though a trailer showcasing battle scenes and important decisions being taken in the halls of power at Raisina Hill. Extensive digital promotion took place, including a virtual press conference and social media promotion. Along with promotion on "The Kapil Sharma Show".


title: Avrodh: The Siege Within

text: Deepa Alexander of "The Hindu" gave "Avrodh" a positive review, saying that there are ample reasons to watch the web-series. Arushi Jain, writing for the "Indian Express", described it as "a retelling, sans any jingoistic and provocative dialogues or scenes", of how the Uri attack was avenged, which makes it "an interesting watch" unspoiled by patriotic excesses. "India Today" review calls "Avrodh" "a well-rounded series", with both the "guns and the glory" as well as the "facts". Without being "hyper-nationalistic", "Avrodh" manages to showcase the complexities that went into the planning of the strike, including how terrorist groups function, the backing from ISI, international pressure and a plethora of other aspects. Sreeparna Sengupta wrote in her "Times of India" review that "the planning, execution and training for the mission are shown with meticulous detailing". Sengupta also wrote that the cast pulls of a strong performance and while the narrative is predictable, "there are enough twists and turns in "Avrodh" that make it a gripping watch". Shreya Paul in the "Firstpost" wrote that "Avrodh" is a retelling of India's retaliation to the Uri attack, without "unnecessary excesses". Nandini Ramnath wrote in "Scroll.in" that "the script is straight out of a government dossier". "AdGully" wrote that "Avrodh" "is this story behind how India shrugged off its indecisiveness". "Film Companion" wrote that life in Kashmir is depicted well, however the show "feels like propaganda", "confuses love for India with indifference for human life" and questioned what the show would mean for Kashmiris without 4G internet. "Koimoi" felt that more could have been done with "Avrodh", and as far as it being propaganda or not, "decide for yourself". "Thandora Times" said the series is a must watch, whereas a Mashable review called "Avrodh" a "piece of crap" and an "abysmally bad piece of propaganda".


title: Zodiac (true crime book)

text: Zodiac is a non-fiction book written by Robert Graysmith about the unsolved serial murders committed by the "Zodiac Killer" in San Francisco in the late 1960s and early '70s. Since its initial release in 1986, "Zodiac" has sold 4 million copies worldwide. Graysmith was a cartoonist for the "San Francisco Chronicle" and later also wrote "Zodiac Unmasked".


title: Zodiac (true crime book)

text: This book chronicles the history of the self-named "Zodiac" killer who was active in the 1960s and 70s in California from first hand details covered by Robert Graysmith's investigative efforts to unmask the "Zodiac" killer. The book describes the investigations of the many law enforcement branches such as the LAPD, the FBI, the CIA , etc., that worked on the case and other murders that the "Zodiac" had proclaimed he committed, including the 1966 Cheri Jo Bates stabbing. Later chapters deal with Graysmith's many theories on the case, and the book eventually cites two possible suspects (who are given pseudonyms), Bob Starr and Donald Andrews, and details some of the circumstantial evidence against them. Graysmith received assistance from police departments that fell within the jurisdictions of the murders, and especially from Inspector Dave Toschi from the San Francisco Police Department, who had worked the Zodiac case. Although the case was never solved, there were instances where solid evidence was held among a number of suspects, even after the Zodiac murders had stopped.


title: Zodiac (true crime book)

text: Robert Graysmith was a cartoonist working for "The San Francisco Chronicle" in the 1960s when the Zodiac murders started. The Zodiac sent letters to "The Chronicle" which he urgently wanted published in the paper. The letters included evidence that he was in fact the Zodiac; while committing one of his crimes, the "Zodiac" cut a piece of bloody cloth from one of his victims and attached it to several of his hand written letters to disable the thought of a fake "Zodiac" writing to the San Francisco Chronicle. Graysmith saw the letters arriving at "The Chronicle" and became intrigued. For years the cartoonist kept his own scrapbook of evidence, from which he independently attempted to determine the Zodiac's identity. When asked why he began working on the book, Graysmith replied, "I saw it going into obscurity. Nobody is sharing all the different jurisdictions, and all this information. What if I as a private citizen went around and got all this information?" This led to a 10-year period to collect information, and eventually the book was published in 1986 after a number of delays.


title: Zodiac (true crime book)

text: The film adaptation "Zodiac" (2007) is roughly based on Graysmith's books, "Zodiac" (1986) and "Zodiac Unmasked" (2002). The film follows the work of Graysmith as a cartoonist in 1969 aiding the authorities in figuring out the identity of the infamous Zodiac killer.


title: Wally Pfister

text: Walter C. Pfister (born July 8, 1961) is an American director and former cinematographer, who is best known for his work with filmmaker Christopher Nolan. Some of his collaborations with Nolan include "Memento" (2000), "The Dark Knight Trilogy" (2005–2012), and "Inception" (2010). For his work on "Inception", Pfister won an Academy Award for Best Cinematography and received a BAFTA Award nomination.


title: Wally Pfister

text: Pfister is also known for his work on director F. Gary Gray's "The Italian Job" and Bennett Miller's "Moneyball". In 2014, Pfister made his directorial debut with "Transcendence" (2014), through Alcon Entertainment. In addition to feature films, he has also directed commercials and television, including episodes of "Flaked" and "The Tick".


title: Wally Pfister

text: Pfister was born in Chicago, Illinois, and raised in the New York City suburb of Irvington-on-Hudson. He is the son of Patricia Ann (née Conway) and Walter J. Pfister, Jr. His grandfather was the city editor of a newspaper in Wisconsin. His father, also known as Wally, was a TV news producer, who began his career with CBS-TV in Chicago in 1955. Later, as an executive at ABC News, the elder Pfister worked with David Brinkley and Peter Jennings, covering political conventions, space flights and the civil rights movement.


title: Wally Pfister

text: When Pfister was about 11, a film company shot scenes for "Shamus" (1973), featuring Burt Reynolds, in his Irvington neighborhood. The boy was fascinated by the crew setting up lights and cameras. Soon afterwards, he began shooting 8 mm home movies and short films. Pfister also emulated his father by shooting slides on Kodachrome film and assembling them into shows for family and friends.


title: Wally Pfister

text: After high school, Pfister found a job as a production assistant at a television station, WMDT-TV, in Salisbury, Maryland. Within a couple of months, he borrowed a CP-16 news camera and began shooting films on weekends, including a visual essay about a Victorian house. "I did these slow, little intricate moves around the architecture of the house", he recalls, "cut it together with music, and showed it to the production manager. They made me a cameraman. I shot very low budget PSAs for $125 a week".


title: Wally Pfister

text: Within a few months, Pfister found a job as a cameraman for a Washington news service, which provided film for TV stations around the country. He covered the United States Congress, the White House and breaking news from 1982 through 1985. In 1985 Pfister began a freelance career shooting documentaries for the PBS series "Frontline" and industrial videos for various Washington production companies.


title: Wally Pfister

text: In 1988, Robert Altman came to Washington to direct a mini-series for HBO called "Tanner '88" (1988). Altman was looking for a real news cameraman to play that role in his show. They hired Pfister and asked him to also shoot some B-roll. When the producers saw his work, they brought Pfister on the show as the second unit cameraman. It was the first time he was exposed to acting and dramatic material.


title: Wally Pfister

text: After that experience, Pfister enrolled at the American Film Institute. During his second year, he collaborated with his classmates on a short film called "Senzeni Na?", which was nominated for an Academy Award for Best Live Action Short Film in 1991. The film told the story of a man caught up in the apartheid struggle. Pfister drew on his documentary experience, and lit it darkly and stark, using a single light so the actor could play in and out of that source.


title: Wally Pfister

text: Janusz Kamiński had just graduated from the AFI Conservatory and met Pfister that year. He saw Pfister's film and recruited him as a grip and electrician for various projects, including a few with Phedon Papamichael.


title: Wally Pfister

text: Roger Corman gave Pfister an opportunity to shoot pickup shots and inserts for a Papamichael film. It was the first time he shot 35 mm film. After that, Pfister handled second unit for Papamichael on "Body Chemistry" and also on other Corman films.


title: Wally Pfister

text: Pfister shot "The Unborn", his first feature, in 1991. After that, he filmed an array of independent B-movies, typically on 15-day schedules. Many of these early films were directed by Gregory Dark.


title: Wally Pfister

text: In 1998, Pfister shot "The Hi-Line" in Montana in the dead of winter on a $300,000 budget. It got into the competition at Sundance Film Festival. There, he met Nolan, who had a film at Slamdance. Pfister's first collaboration with Nolan was on the neo-noir thriller "Memento" (2000). The success of this collaboration resulted in Pfister taking over as director of photography for Nolan's subsequent films: "Insomnia" (2002), "Batman Begins" (2005), "The Prestige" (2006), "The Dark Knight" (2008), which he partially shot with IMAX cameras, and "Inception", which was shot partially in 5-perf 65 mm. He is the only cinematographer that has worked with director Christopher Nolan between "Memento" and "The Dark Knight Rises", and has served as cinematographer for all of Nolan's films except for "Following" (1998), for which Nolan acted as cinematographer himself, "Interstellar" (2014), "Dunkirk" (2017), and "Tenet" (2020), in those of which he was replaced by Hoyte van Hoytema, after Pfister got the chance to direct his first film, "Transcendence". Pfister has stated that he "turned down many projects (including several "Harry Potter" films), in some cases just to be available for Nolan, or to stay home with my family."


title: Wally Pfister

text: Pfister has been nominated for an Academy Award for Best Cinematography four times, each time for a film directed by Nolan. He won an Academy Award for his work on "Inception" at the 83rd Academy Awards. He also has been nominated three times for the American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Theatrical Releases, for "Batman Begins", "The Dark Knight" and "Inception", winning for the latter, in 2011.


title: Wally Pfister

text: Pfister made his directorial debut with the science fiction thriller "Transcendence", starring Johnny Depp, which was released by Warner Bros. on April 18, 2014. The cast also featured Morgan Freeman, Kate Mara, Cillian Murphy, Rebecca Hall, and Paul Bettany.


title: Wally Pfister

text: Pfister had stated in 2015 he is finished with working as a cinematographer and planned to continue as a director.


title: Wally Pfister

text: Pfister currently resides in Los Angeles, California and has three children: Nick, actress Claire Julien, and Mia.


title: Wally Pfister

text: He is a member of the American Society of Cinematographers (ASC) since 2002, and the British Society of Cinematographers (BSC) since 2011.


title: John Shea

text: John Victor Shea III ( ; born April 14, 1949) is an American actor, film producer and stage director. His career began on Broadway where he starred in "Yentl," subsequently winning his first major award, the 1975 Theatre World Award. Shortly after his Off-Broadway career began, Lee Strasberg invited Shea to join the Actors Studio where he spent several years studying method acting.


title: John Shea

text: He made his television film debut in "The Nativity" (1978), alongside Madeleine Stowe. Billed alongside Helen Mirren, he starred in the noir film "Hussy" (1980) and the Academy Award-winning drama "Missing" (1982). In 1988, Shea won his first Emmy for his performance as William Stern in "Baby M". Shea's subsequent films include the comedy thriller "Coast to Coast" (1987), the drama "Windy City" (1984), the dark crime feature "Small Sacrifices" (1989), the political thriller "The Insurgents" (2006), the Tamil language thriller "Achchamundu! Achchamundu!" (2009), the drama "An Invisible Sign" (2010), and the Finnish film "The Italian Key" (2011).


title: John Shea

text: His breakthrough came when he was cast as Lex Luthor in the 1990s TV series "", subsequently being cast as Adam Kane in the 2000s "Mutant X" series. Shea's public profile increased in 2012 after his five-year role as Harold Waldorf, Blair Waldorf's father on "Gossip Girl".


title: John Shea

text: Shea has been noted for his political involvement in social equity, which in 1984 led him to organize the largest peace rally in the history of the United States, garnering praise by various non-governmental organizations such as Amnesty International. In 2014, Shea announced his directorial debut with "Grey Lady", released in mid-2017.


title: John Shea

text: Shea was born in North Conway, New Hampshire, near where his father was teaching at Fryeburg Academy, Maine, and was raised in the Sixteen Acres area of Springfield, Massachusetts, with four siblings. His parents were Elizabeth Mary (née Fuller) and Dr. John Victor Shea, Jr., who served in the U.S. Army during World War II, fighting in the Battle of the Bulge, and who became a teacher, coach and later assistant Superintendent of Schools. Elizabeth Shea introduced John to literature, poetry, classical music, and art and urged him to study the piano.


title: John Shea

text: Shea attended Roman Catholic schools in Springfield, graduating from Cathedral High School, where he captained the varsity debate team and played varsity football and track. Shea studied at Bates College in Lewiston, Maine, where he earned a bachelor's degree in theatre. He performed on the varsity debating and football teams and co-edited the college literary magazine, "Puffed Wheat", before graduating in 1970.


title: John Shea

text: He studied acting and directing at the Yale School of Drama of Yale University under Dean Robert Brustein, gaining an M.F.A in Directing in 1973. During his time at the School of Drama, he also performed at the Yale Repertory Theatre, in the Yale cabaret with schoolmates Joe Grifasi and Meryl Streep, and studied film making with Arthur Penn, Sidney Lumet, and George Roy Hill in the film program at the Art and Architecture School.


title: John Shea

text: After a directing apprenticeship at both the Chelsea Theatre under Robert Kalfin and the Public Theater with Joseph Papp, he made his Broadway debut at the age of 26 in Kalfin's production of Isaac B. Singer's "Yentl" opposite Tovah Feldshuh, for which he received the Theatre World Award. "Yentl" started Off Broadway at the Chelsea Theatre Center at the Brooklyn Academy of Music and, after a favorable reception, was moved to the Eugene O'Neill Theatre by producer and Actors Studio co-founder, Cheryl Crawford, and was later made into a film starring Barbra Streisand. After seeing his performance Lee Strasberg invited Shea to join the Actors Studio where he spent several years studying method acting. Since his Broadway debut in the mid 1970s, Shea has continued to work in Off-Broadway and Broadway theatre productions, starring in Arthur Kopit's "End of the World" starring with Linda Hunt and Barnard Hughes. In 1977, during his first trip to Los Angeles to get experience in front of a camera, he played guest roles in such TV series as "Eight Is Enough" and "Man from Atlantis", and co-starred in "The Last Convertible", a miniseries for Universal.


title: John Shea

text: He made his television film debut as Joseph in "The Nativity" (1978) opposite Madeleine Stowe as Mary, a biblical epic shot in Spain. His feature film debut came in Matthew Chapman's English film noir "Hussy" (1980), opposite Helen Mirren. His American film debut was in Constantin Costa-Gavras's Academy Award-winning "Missing" (1982), which starred Jack Lemmon and Sissy Spacek. The film, shot on locations in Mexico, also won the Palme d'Or at the 1982 Cannes Film Festival and helped launch Shea's international acting career.


title: John Shea

text: During the early 1980s, Shea was asked to join the billed cast of Paula Vogel's Pulitzer Prize winning "How I Learned to Drive" along with Molly Ringwald as well as the following: Anne Meara's "Down the Garden Paths", Eugene O'Neill's "Long Day's Journey Into Night," the original production of A. R. Gurney's "The Dining Room," Peter Parnell's "The Sorrows of Stephen", Stephen Poliakoff's "American Days", Theodore Mann's production of "Romeo and Juliet", Philip Barry's "The Animal Kingdom" opposite Sigourney Weaver. Shea went on to be cast in the title role in Nancy Hasty's "The Director", and, later, in Israel Horovitz's "The Secret of Madame Bonnard's Bath".


title: John Shea

text: In 1984 Shea starred in Armyan Bernstein's "Windy City" along with Kate Capshaw. He won the "Best Actor" award at the Montreal World Film Festival in 1984.


title: John Shea

text: In 1982, he co-hosted, with Kathryn Walker, the June 12th Anti-Nuclear Rally in Central Park, the largest peace rally in the history of the United States. This rally was the subject of the 1984 documentary film "In Our Hands" by Robert Richer and Stan Warnow, in which Shea made a cameo appearance.


title: John Shea

text: Shea made his Carnegie Hall debut playing "The Soldier" in Tom O'Horgan's 1985 production of Igor Stravinsky's "L'Histoire du Soldat", with Pinchas Zukerman and Andre de Shields. That year, he also starred in a French language speaking role in Lune de miel. In 1986, he made his London West End debut starring in Joseph Papp's production of Larry Kramer's drama "The Normal Heart" at the Albery Theatre.


title: John Shea

text: In 1987 ABC contracted a network miniseries titled "Baby M", in which Shea was cast. His portrayal of William "Bill" Stern received critical acclaim and resulted in him being nominated and winning his first Emmy Award for Supporting Drama Actor. He starred in "Small Sacrifices" alongside Farrah Fawcett in 1989, and also in Jim Goddard's British production of "Kennedy" later that year, starring Martin Sheen and Blair Brown, in which Shea portrayed another Bates alumnus, Robert F. Kennedy.


title: John Shea

text: In Grant Tinker's 1990 CBS series "WIOU", written by John Eisendrath and Kathryn Pratt, Shea led an ensemble cast briefly before the show's cancellation.


title: John Shea

text: In 1993, Shea was cast as Lex Luthor in the television show, "". His portrayal of the DC Comics supervillain received positive reviews, but he left after the first season occasionally returning in later seasons in a guest role.


title: John Shea

text: When asked about the characterization of Luthor, Shea pointed out the differences between his portrayal and that of Gene Hackman by saying:


title: John Shea

text: This villain is written as a human being, and not just a one dimensional comic villain or a two dimensional comic villain, the way he might have been portrayed in the comic books or even other films. I thought he [Hackman] was brilliant, but it was a different kind of comic villain.


title: John Shea

text: After leaving "Lois & Clark", Shea starred in a new X-Men inspired series, "Mutant X", where he was cast as Adam Kane. The show aired for three seasons before being cancelled.


title: John Shea

text: In 1998 Shea co-wrote and directed the independent film "Southie", starring Donnie Wahlberg, Rose McGowan, Amanda Peet, Anne Meara, Will Arnett and Lawrence Tierney. The film won the Seattle International Film Festival award for Best Film, represented the United States at the Montreal International Festival, and was distributed by Lions Gate Films. Shea appeared on "Sex and the City" as Dominic a month later. He also starred in the independent film "The Adventures of Sebastian Cole". Shea was contracted later that year to be a reader on Selected Shorts for Symphony Space, broadcast nationwide on Public Radio International. His reading of Truman Capote's "A Christmas Memory" won "AudioFile Magazine"s Earphones Award in 1999, as part of the anthology "Selected Shorts: Classic Tales, Vol. XII".


title: John Shea

text: When casting for "Gossip Girl" began in 2007, Shea was asked to join the recurring cast as Harold Waldorf, Blair Waldorf's father. His portrayal of the character garnered him increased name recognition among millennials and contributed to his presence in American meme and popular culture. He was cast in Scott Dacko's 2006 political thriller "The Insurgents" with Mary Stuart Masterson.


title: John Shea

text: Later in 2009 he was cast as Cary Ago's father, Jeffery, a recurring character on "The Good Wife." He made his debut into Indian cinema with the 2009 Tamil drama "Achchamundu! Achchamundu!", directed by Indo-American film director Arun Vaidyanathan, becoming the first American actor to work in a Tamil film. The film garnered widespread praise and critical acclaim.


title: John Shea

text: Shea voiced the central character Sylvain in the English dub of the animated feature film "Gandahar". He was cast in the 2010 American drama film "An Invisible Sign" with Jessica Alba.


title: John Shea

text: Shea was cast alongside Lea Thompson in the 2012 romantic comedy "The Trouble With the Truth". In the summer of 2013 he directed a 40th anniversary production of Edward Gorey's "Dracula".


title: John Shea

text: At the start of 2014, Shea appeared in "Madam Secretary" as Ted Graham. Later that year, he wrote and directed "Grey Lady", a romantic thriller set on Nantucket, starring Eric Dane, Natalie Zea, Adrian Lester, Carolyn Stotesbury, Chris Meyer, and Amy Madigan. The independent film, produced by Beacon Pictures and shot by Andrzej Bartkowiak, had its first charity screening in August 2015. It was released on DVD and various streaming services in the summer of 2017.


title: John Shea

text: In 2015, Shea joined the cast of "Agent X" as Thomas Eckhart. It was announced that Shea would play Dr. Marcus Eldridge in a 2016 episode of "Bones".


title: John Shea

text: Shea has been married twice. He and his first wife, photographer Laura Pettibone, had one child together, Jake. He and his current wife, the artist Melissa MacLeod, a co-founder of the cooperative (X) Gallery on Nantucket, have two children, Miranda and Caiden.


title: John Shea

text: Shea is the Artistic Director Emeritus of the Theatre Workshop of Nantucket, where he helped produce 40 productions.


title: John Shea

text: According to IMDB, Shea has been in a total of 81 movies as an actor, has written, and directed two screenplays that have turned into film ("Grey Lady" and "Southie"), and has served as an associate producer on "Achchamundu! Achchamundu!" as well as an executive producer on his directorial debut, "Grey Lady."


title: I Got You (I Feel Good)

text: "I Got You (I Feel Good)" is a song by American singer James Brown. First recorded for the album "Out of Sight" and then released in an alternate take as a single in 1965, it was his highest-charting song and is arguably his best-known recording.


title: I Got You (I Feel Good)

text: "I Got You (I Feel Good)" is a twelve-bar blues with a brass-heavy instrumental arrangement similar to Brown's previous hit, "Papa's Got a Brand New Bag". It also features the same emphasis "on the one" (i.e. the first beat of the measure) that characterizes Brown's developing funk style. The lyrics have Brown exulting in how good he feels ("nice, like sugar and spice") now that he has the one he loves, his vocals punctuated by screams and shouts. The song includes an alto sax solo by Maceo Parker.


title: I Got You (I Feel Good)

text: "I Got You (I Feel Good)" developed from an earlier Brown-penned song, "I Found You", with a nearly identical melody and lyrics. "I Found You" had been recorded by Brown's back-up singer Yvonne Fair and released as a single (King 5594) in 1962, with little success.


title: I Got You (I Feel Good)

text: In 1964, Brown recorded an early version of "I Got You (I Feel Good)" with a different arrangement, including a stuttering rhythm and prominent baritone sax line, under the title "I Got You". This version appeared on the Smash Records album "Out of Sight" and in the 1965 film "Ski Party", in which Brown lip synchs his performance. It was intended for a single release but was withdrawn due to a court order from King Records, with whom Brown was involved in a contract dispute.


title: I Got You (I Feel Good)

text: In 1965, after visiting Criteria Studios in Miami and being impressed by the sound of the studio's custom recording console, King Records owner Syd Nathan booked an October recording session for Brown, during which he recorded the version of "I Got You (I Feel Good)" released by the label as a single.


title: I Got You (I Feel Good)

text: Of Brown's 91 hits to reach the "Billboard" Hot 100, "I Got You (I Feel Good)" is Brown's highest-charting song, peaking at No. 3. The song remained at the top of the "Billboard" Rhythm and Blues Singles chart for six non-consecutive weeks, after his previous single, "Papa's Got a Brand New Bag", held the number-one spot for eight weeks. Brown's screams at the beginning and end of the song have been sampled a number of times for hip hop and dance songs. The song has also been covered many times by other performers, and is frequently played at sporting events. The song is played at the Zentralstadion whenever RB Leipzig scores a goal.


title: I Got You (I Feel Good)

text: "Cash Box" described it as a "rhythmic, funky ode about a real lucky guy who wants nothing more than to be near his gal."


title: I Got You (I Feel Good)

text: In 2000, "I Got You (I Feel Good)" reached No. 21 on VH1's "100 Greatest Songs in Rock and Roll" and No. 75 on VH1's "100 Greatest Dance Songs", one of only seven songs to make both lists. In 2004, "I Got You (I Feel Good)" was ranked No. 78 on "Rolling Stone" magazine's list of the 500 Greatest Songs of All Time.


title: I Got You (I Feel Good)

text: In 1965, James Brown, and his vocal group, The Famous Flames (Bobby Byrd, Bobby Bennett and Lloyd Stallworth)


title: I Got You (I Feel Good)

text: performed the song in a cameo in the American International Pictures comedy film "Ski Party". Since then, the song has appeared in numerous film soundtracks, including "The Big Chill" (2004's Delux Edition), "The Nutty Professor"; "Good Morning, Vietnam"; "Home Alone 4"; "Mr. Jones"; "It Takes Two"; "Dr. Dolittle"; "Boat Trip"; "Astérix & Obélix: Mission Cléopâtre"; "K-9"; "", where it was used as the main theme; "Exit Wounds"; "", "Transformers", "Paddington", and "Big Eyes". It has also appeared in film trailers, including "It Could Happen to You".


title: I Got You (I Feel Good)

text: The song's television appearances include "Tour of Duty" episode "The Road to Long Binh", "The Simpsons" episode "Bart's Inner Child" (with Brown himself singing it), the "Alvin and the Chipmunks" episode "Kong!" (a parody of the 1976" King Kong" film) as performed by Alvin and the Chipmunks, the "Full House" episode "The Return of Grandma", the "Malcolm in the Middle" episode "Morp", the "Lost" episode "The Greater Good", and the "Miami Vice" episode "Missing Hours" in which Brown made a guest appearance as a former music star-turned-con man who promotes extraterrestrial life. In the series finale of "The Fresh Prince of Bel-Air", "I, Done", Philip Banks dances to the song on his birthday; also in the episode "Cold Feet, Hot Body", when Will Smith sees the homewrecker girl Denise again at Lisa's bridal shower he screams and then sings this song just so Lisa doesn't know that he and Denise kissed, but Will already turned Denise down since he loves Lisa and becomes friends with Lisa afterwards, thus being invited to the bridal shower. In the "Family Matters" episode "Father of the Bride," Carl sings this song to celebrate that he doesn't have to take Steve Urkel bowling after Laura agrees to go bowling with Urkel after Carl bribes her. "Step By Step" episode "Home Alone" when Frank and Carol Lambert are on a romantic weekend at a hotel and when Frank throws his back out and doesn't want Carol to know he threw his back out he sings this song when he screams "Ow!" out of pain; also in the episode of Step By Step "College Bound" when Dana gets her first D and her siblings find out, Mark starts singing this song to celebrate that he's now the number one smartest kid in the family. Also in the episode of Step By Step "Party Animal" this song can be heard playing at the party at the sorority house that Dana moved into and when she is drunk. In the "Punky Brewster" episode "Just Say No", Mike Fulton sang this song to Punky Brewster when he was telling her his life story about peer pressure and how he does an impression of James Brown and sings this song. Kids Incorporated covered "I Feel Good" in 1993 in the Season 9 episode "Dating Anxiety". It is heard in a 2020 TV commercial for Applebee's.


title: I Got You (I Feel Good)

text: It was also played on NTV7, a Malaysian television channel, as it plays the song accompanied by the clips of its programmes at the start and end of the day's broadcast since its launch in 1998 until around 2006. It reflects the slogan of the channel, that is "Your Feel Good Channel". It also makes occasional appearances on "Soccer Saturday" when presenter and lifelong Hartlepool United fan Jeff Stelling produces a doll each time winger James Brown scores, much to the mirth of the studio experts and the viewers (with some viewers being made to drink if they are playing the drinking game to accompany it).


title: I Got You (I Feel Good)

text: The song, recorded possibly by a sound-alike band, was used in a commercial for "Autolite" spark plugs in the 1980s where human beings were used as spark plugs and were dancing or exercising to the song and informing the person who opened the hood about their guarantee.


title: I Got You (I Feel Good)

text: Brown performs the song on the live albums "Live at the Garden" (1967), "Live at the Apollo, Volume II" (1968), "Soul Session Live" (1989), and "Live at the Apollo 1995" (1995).


title: I Got You (I Feel Good)

text: Brown re-recorded the song for his 1975 album "Sex Machine Today". This version was featured in the film "White Men Can't Jump", the video game "Rock Band 3", and "".


title: I Got You (I Feel Good)

text: In 1992, producer and remixer Paul Dakeyne released a 12" remix of "I Got You (I Feel Good)" on FBI Records under the title "James Brown v. Dakeyne – I Got You (I Feel Good) (The Remixes)". It reached No. 72 on the UK Singles Chart.


title: Please Please Me (song)

text: "Please Please Me" is a song released by the English rock band the Beatles. It was their second single in the United Kingdom, and their first in the United States. It is also the title track of their first LP, which was recorded to capitalise on the success of the single. It is a John Lennon composition (credited to Lennon–McCartney), although its ultimate form was significantly influenced by producer George Martin.


title: Please Please Me (song)

text: The single was released in the UK on 11 January 1963 and reached No. 1 on the "New Musical Express" and "Melody Maker" charts. However, it only reached No. 2 on the "Record Retailer" chart, which subsequently evolved into the UK Singles Chart. Because of this, it was not included on the Beatles' number ones compilation, "1".


title: Please Please Me (song)

text: The single, as initially released with "Ask Me Why" on the B-side, failed to make much impact in the US in February 1963, but when re-released there on 3 January 1964 (this time with "From Me to You" on the B-side), it reached No. 3 on the "Billboard" Hot 100. The song was also re-released on 6 December 1982 by Parlophone in the UK.


title: Please Please Me (song)

text: The Beatles had accomplished a modest debut success with "Love Me Do", but outside of Liverpool and Hamburg they were still practically unknown. Part of the problem was that the group were committed to begin what was to be their final Hamburg season just as "Love Me Do" entered the British charts and so were unable to actively promote it on their home soil. Nonetheless, their producer, George Martin, felt it was a promising start and decided to go ahead with a second single.


title: Please Please Me (song)

text: "Please Please Me" has a diverse history. George Martin has stated that the original version of this song was "rather dreary", was too slow and consequently had little prospect of being the big hit the band were looking for. Martin said, "I was still thinking that we should release their [earlier] recording of 'How Do You Do It?'", a previously taped Mitch Murray composition that Martin insisted the Beatles record which he had seriously considered as an alternative debut single instead of "Love Me Do". The group replied that they were only interested in recording their own material. McCartney said: "It was symptomatic of our group that we turned down 'How Do You Do It?'." Ringo Starr commented: "I remember us all being ready to stand up for the principle of, 'We have written these songs and we want to do them'". George Martin was ultimately sympathetic to their appeals, but said later: "[I] would still have issued "How Do You Do It?" had they not persuaded me to listen to another version of "Please Please Me". Martin's confidence in "How Do You Do It?" proved justified when it subsequently became a number one hit for Gerry & the Pacemakers.


title: Please Please Me (song)

text: Lennon first conceived "Please Please Me" as a bluesy, slow tempo song. Lennon recalled: "I remember the day I wrote it, I heard Roy Orbison doing 'Only the Lonely', or something. And I was also always intrigued by the words to a Bing Crosby song that went, 'Please lend a little ear to my pleas'. The double use of the word 'please'. So it was a combination of Roy Orbison and Bing Crosby". Originally it was vocally sparse, did not contain any harmonies or responses, nor did it have the scaled harmonica intro. Lennon later stated: "Please Please Me is my song completely. It was my attempt at writing a Roy Orbison song, would you believe it? I wrote it in the bedroom in my house at Menlove Avenue, which was my auntie's place".


title: Please Please Me (song)

text: The Beatles first presented "Please Please Me" to George Martin at their 4 September 1962 session. Ringo Starr in "Anthology" stated: "On my first visit in September we just ran through some tracks for George Martin. We even did 'Please Please Me'. I remember that, because while we were recording it I was playing the bass drum with a maraca in one hand and a tambourine in the other." John Lennon in "Anthology" stated: "We'd had a top 30 entry with 'Love Me Do' and we really thought we were on top of the world. Then came 'Please Please Me'—and wham! We tried to make it as simple as possible. Some of the stuff we've written in the past has been a bit way-out, but we aimed this one straight at the hit parade... We almost abandoned it as the B-side of 'Love Me Do'. We changed our minds only because we were so tired the night we did 'Love Me Do'. We'd been going over it a few times and when we came to the question of the flipside, we intended using 'Please Please Me'. Our recording manager, George Martin, thought our arrangement was fussy, so we tried to make it simpler. We were getting very tired, though, and we just couldn't seem to get it right. We are conscientious about our work and we don't like to rush things."


title: Please Please Me (song)

text: In the opinion of George Martin, "At that stage 'Please Please Me' was a very dreary song. It was like a Roy Orbison number, very slow, bluesy vocals. It was obvious to me that it badly needed pepping up. I told them to bring it in next time and we'd have another go at it." He asked the Beatles to consider making major changes to it, including increasing its tempo. Paul McCartney in "Anthology" stated: "We sang it and George Martin said, 'Can we change the tempo?' We said, 'What's that?' He said, 'Make it a bit faster. Let me try it.' And he did. We thought, 'Oh, that's all right, yes.' Actually, we were a bit embarrassed that he had found a better tempo than we had."


title: Please Please Me (song)

text: A faster-tempo version sans harmonica was recorded at Abbey Road on 11 September, the only session in which session drummer Andy White was present. The up-tempo track, No. 24 on "Anthology 1", was believed to have been wiped until its rediscovery in 1994 during the "Anthology" production, with "Anthology notes" seeming to indicate that it features drummer Andy White rather than Ringo Starr. The point is not addressed in the Mark Lewisohn-researched "Anthology" notes, although author Lewisohn's 1988 "The Beatles Recording Sessions" quotes session engineer Ron Richards as saying, "Ringo didn't play drums at all that evening." However, recording technician Geoff Emerick later wrote that, following White's departure, he witnessed Beatles roadie Mal Evans set up Starr's kit and the group record "Please Please Me" with Starr on drums. In a 2012 BBC interview, Andy White claimed that the drumming on the hit single was his:


title: Please Please Me (song)

text: White, however, was not at the studio for the final recording on 26 November and was only hired for the 11 September session. As recorded on 26 November, Lennon's harmonica playing features prominently and, similar to other early Beatles' compositions such as "Love Me Do" and "From Me to You", opens the song. McCartney and Lennon initially share the vocals with McCartney holding a high note while Lennon drops down through the scale, a ploy they learned from the Everly Brothers UK hit song "Cathy's Clown" (April 1960). McCartney said: "I did the trick of remaining on the high note while the melody cascaded down from it". Ringo Starr asserts himself, exorcising any lingering doubts from the "Love Me Do" sessions regarding his ability. Where "Love Me Do" had been arguably parochial, relying to a large extent on their existing home fans for support "Please Please Me" would be groundbreaking, especially as the Beatles were now back in the UK and able to appear on influential national television shows such as "Thank Your Lucky Stars".


title: Please Please Me (song)

text: By the time it was brought back into the studio on 26 November 1962, its arrangement had been radically altered, and it took 18 takes to record what George Martin immediately predicted would be their first major hit.


title: Please Please Me (song)

text: A new mix was created for the stereo version of the album, and on 25 February 1963, Martin made one created from original takes 16, 17 and 18. This stereo version has Lennon fluffing the final verse, causing him to sing 'come on' with a slight chuckle in his voice. Also different in the stereo mix is Harrison's lead guitar line before the final verse; rather than duplicating the overdubbed harmonica exactly as he had earlier in the song, Harrison drops down a fourth for the third note, rather than continuing down by stepwise motion.


title: Please Please Me (song)

text: The song was credited to "McCartney–Lennon", as were all other Lennon–McCartney originals on the "Please Please Me" album. The songwriting credit was changed to the more familiar "Lennon–McCartney" sequence for their second album, "With the Beatles".


title: Please Please Me (song)

text: According to Ray Coleman's biography, "Brian Epstein: The Man Who Made the Beatles", Epstein had been dissatisfied with EMI's promotional efforts for "Love Me Do" (published by EMI's subsidiary Ardmore & Beechwood) and asked George Martin if he could suggest a publisher who would push the single more effectively. Martin suggested three candidates, one of which was Dick James. Epstein made an appointment to meet with him for 11 a.m. the following day, as well as an appointment with another EMI subsidiary at 10 a.m. Arriving on time for the first meeting, Epstein was informed that the executive he was due to meet had not arrived yet. Still waiting at 10:25, he decided that he was not prepared to do business with an organisation that could not keep a scheduled appointment, and left.


title: Please Please Me (song)

text: Arriving at James' office 20 minutes early, he apologised to the receptionist and said he was happy to wait until the appointed time. The receptionist nevertheless phoned James, who promptly came out of his office, welcomed Epstein and quickly got down to business. Epstein played the single and James remarked that it was a number one record. Epstein replied that if James could achieve that then he would be prepared to offer him a long-term publishing deal. James phoned Philip Jones, producer of ITV television show "Thank Your Lucky Stars", played the song for him over the telephone, and gained The Beatles a slot on the next edition of the programme. The two then shook hands on a deal that would make them, and the Beatles, extremely wealthy.


title: Please Please Me (song)

text: The new single was released in the UK on 11 January 1963 during one of the worst winters in British history. On 19 January most of the population were snowed-in at home watching the Beatles perform the song on the Saturday night TV show, "Thank Your Lucky Stars". The national exposure of the song, as well as the band's unusual appearance and hair style, generated a lot of attention, and they were booked by promoter Arthur Howes for a series of national tours. The first tour was as a support band for Helen Shapiro in February, for Tommy Roe and Chris Montez in March, and for Roy Orbison in May. During breaks in the touring schedule, the Beatles performed the song on a number of BBC national radio programmes. The touring and TV appearances, along with extensive press coverage, propelled the single to the top of most of the British charts and the Beatles, much to their embarrassment, were moved to the top of the bill on the Tommy Roe and Roy Orbison tours.


title: Please Please Me (song)

text: Capitol Records, EMI's United States label, was offered the right to release "Please Please Me" in the US, but turned it down. Instead, it was placed with Transglobal, an EMI affiliate that worked to place foreign masters with US record labels. It was told to find an American outlet for the record as quickly as possible, in order to appease Martin and Beatles manager Brian Epstein. "Please Please Me" was then offered to Atlantic, which also rejected it. Finally, Vee-Jay, which had released the top-five hit "I Remember You" by Frank Ifield in 1962 (another record that Capitol had turned down), was offered the right to issue "Please Please Me" in the States, and chose to do so. The exact date of the US issue was lost for decades, but research published in 2004 showed that the single, "Please Please Me"/"Ask Me Why", was released by Vee-Jay on 7 February 1963.


title: Please Please Me (song)

text: Dick Biondi, a disc jockey on WLS in Chicago and a friend of Vee-Jay executive Ewart Abner, played the song on the radio from February 1963, perhaps as early as 8 February 1963, thus becoming the first DJ to play a Beatles record in the US. Art Roberts, legendary DJ and music director at the time, tells how the record came to be played first at the station:


title: Please Please Me (song)

text: On WLS, "Please Please Me" peaked at No. 35 on 15 March on the second of its two weeks on the "Silver Dollar Survey", in addition to its two airplay weeks. However, the song did not chart on any other major national American survey until 1964.


title: Please Please Me (song)

text: The first pressings of the Vee-Jay single, which was assigned the catalog number 498, featured a typographical error: the band's name was spelled "The Beattles" with two "t"s. WLS used this spelling on its Silver Dollar Surveys in 1963. Later copies of the single corrected this misspelling. However, the same spelling was also on the Silver Dollar Surveys for the first two weeks of "I Want to Hold Your Hand" in 1964. Also, the composers on the Vee-Jay edition were credited on both sides as "J. Lennon-P. McCartney", unlike on the UK Parlophone edition (which listed the names in the reverse order). However, with the exception of Chicago, the record was a failure as it sold approximately 7,310 copies. Today, copies of Vee-Jay 498—whether with the incorrect or correct spelling of the Beatles on the label—are valuable collector's items.


title: Please Please Me (song)

text: In the wake of the rush-release of "I Want to Hold Your Hand" in the United States, Vee-Jay reissued "Please Please Me" on or about 3 January 1964, the day that film footage of the Beatles appeared on a prime time episode of "The Jack Paar Program" on NBC Television. Playing it safe, the label chose to put "From Me to You" on the B-side, as Del Shannon's version had been a minor hit in 1963. The new single was issued with the catalog number 581.


title: Please Please Me (song)

text: This time, "Please Please Me" was a massive hit, eventually peaking at No. 3 on the "Billboard" Hot 100 chart for the week ending 14 March 1964, trailing only "I Want to Hold Your Hand" and "She Loves You". "Please Please Me" was at #5 on the Hot 100 on 4 April 1964, the date on which the Beatles held the top five spots.


title: Please Please Me (song)

text: Because Vee-Jay wanted to get as many copies of the record pressed as quickly as possible, it did not insist on uniformity from one pressing plant to another. As a result, a dizzying number of label variations exist. Some of these added a comma to the song title, rendering it as "Please, Please Me". Additionally, some copies of the record were issued with a picture sleeve. Early promotional copies had a special sleeve proclaiming "Please Please Me" as "The Record That Started Beatlemania". The text on the sleeve noted that the Beatles had just appeared on Paar's program and were scheduled to appear on "The Ed Sullivan Show" in February. This sleeve is considered to be extremely rare.


title: Please Please Me (song)

text: At least 1.1 million copies of the reissue were sold. If Vee-Jay had been a member of the RIAA, the single would have been certified gold.


title: Please Please Me (song)

text: "Rolling Stone" ranked the song at No. 184 on its list of the 500 Greatest Songs of All Time, placing it 15th among Beatles songs on that list.


title: Please Please Me (song)

text: "Please Please Me" was chosen for The Beatles' first national UK television appearance, on "Thank Your Lucky Stars" on 19 January 1963.


title: Military science

text: Military science is the study of military processes, institutions, and behavior, along with the study of warfare, and the theory and application of organized coercive force. It is mainly focused on theory, method, and practice of producing military capability in a manner consistent with national defense policy. Military science serves to identify the strategic, political, economic, psychological, social, operational, technological, and tactical elements necessary to sustain relative advantage of military force; and to increase the likelihood and favorable outcomes of victory in peace or during a war. Military scientists include theorists, researchers, experimental scientists, applied scientists, designers, engineers, test technicians, and other military personnel.


title: Military science

text: Military personnel obtain weapons, equipment, and training to achieve specific strategic goals. Military science is also used to establish enemy capability as part of technical intelligence.


title: Military science

text: In military history, military science had been used during the period of Industrial Revolution as a general term to refer to all matters of military theory and technology application as a single academic discipline, including that of the deployment and employment of troops in peacetime or in battle.


title: Military science

text: In military education, military science is often the name of the department in the education institution that administers officer candidate education. However, this education usually focuses on the officer leadership training and basic information about employment of military theories, concepts, methods and systems, and graduates are not military scientists on completion of studies, but rather junior military officers.


title: Military science

text: Even until the Second World War, military science was written in English starting with capital letters, and was thought of as an academic discipline alongside Physics, Philosophy and the Medical Science. In part this was due to the general mystique that accompanied education in a World where as late as the 1880s 75% of the European population was illiterate. The ability by the officers to make complex calculations required for the equally complex "evolutions" of the troop movements in linear warfare that increasingly dominated the Renaissance and later history, and the introduction of the gunpowder weapons into the equation of warfare only added to the veritable arcana of building fortifications as it seemed to the average individual.


title: Military science

text: Until the early 19th century, one observer, a British veteran of the Napoleonic Wars, Major John Mitchell thought that it seemed nothing much had changed from the application of force on a battlefield since the days of the Greeks. He suggested that this was primarily so because as Clausewitz suggested, "unlike in any other science or art, in war the object reacts".