title: Clothes dryer

text: A hand-cranked clothes dryer was created in 1800 by M. Pochon from France. Henry W. Altorfer invented and patented an electric clothes dryer in 1937. J. Ross Moore, an inventor from North Dakota, developed designs for automatic clothes dryers and published his design for an electrically operated dryer in 1938. Industrial designer Brooks Stevens developed an electric dryer with a glass window in the early 1940s.


title: Clothes dryer

text: Moisture and lint are byproducts of the tumble drying process and are pulled from the drum by a fan motor and then pushed through the remaining exhaust conduit to the exterior termination fitting. Typical exhaust conduit comprises flex transition hose found immediately behind the dryer, the rigid galvanized pipe and elbow fittings found within the wall framing, and the vent duct hood found outside the house.


title: Clothes dryer

text: A clean, unobstructed dryer vent improves both the efficiency and safety of the dryer. As the dryer duct pipe becomes partially obstructed and filled with lint, drying time markedly increases and causes the dryer to waste energy. A blocked vent increases the internal temperature and may result in a fire. Clothes dryers are one of the more costly home appliances to operate.


title: Clothes dryer

text: Several factors can contribute to or accelerate rapid lint build-up. These include long or restrictive ducts, bird or rodent nests in the termination, crushed or kinked flex transition hose, terminations with screen-like features, and condensation within the duct due to un-insulated ducts traveling through cold spaces such as a crawl space or attic. If plastic flaps are at the outside end of the duct, one may be able to flex, bend, and temporarily remove the plastic flaps, clean the inside surface of the flaps, clean the last foot or so of the duct, and reattach the plastic flaps. The plastic flaps keep insects, birds, and snakes out of the dryer vent pipe. During cold weather, the warm wet air condenses on the plastic flaps, and minor trace amounts of lint sticks to the wet inside part of the plastic flaps at the outside of the building.


title: Clothes dryer

text: Ventless dryers include multi-stage lint filtration systems and some even include automatic evaporator and condenser cleaning functions that can run even while the dryer is running. The evaporator and condenser are usually cleaned with running water. These systems are necessary, in order to prevent lint from building up inside the dryer and evaporator and condenser coils.


title: Clothes dryer

text: Aftermarket add-on lint and moisture traps can be attached to the dryer duct pipe, on machines originally manufactured as outside-venting, to facilitate installation where an outside vent is not available. Increased humidity at the location of installation is a drawback to this method.


title: Clothes dryer

text: Dryers expose flammable materials to heat. Underwriters Laboratories recommends cleaning the lint filter after every cycle for safety and energy efficiency, provision of adequate ventilation, and cleaning of the duct at regular intervals. UL also recommends that dryers not be used for glass fiber, rubber, foam or plastic items, or any item that has had a flammable substance spilled on it.


title: Clothes dryer

text: In the United States, the U.S. Fire Administration in a 2012 report estimated that from 2008 to 2010, fire departments responded to an estimated 2,900 clothes dryer fires in residential buildings each year across the nation. These fires resulted in an annual average loss of 5 deaths, 100 injuries, and $35 million in property loss. The Fire Administration attributes "Failure to clean" (34%) as the leading factor contributing to clothes dryer fires in residential buildings, and observed that new home construction trends place clothes dryers and washing machines in more hazardous locations away from outside walls, such as in bedrooms, second-floor hallways, bathrooms, and kitchens.


title: Clothes dryer

text: To address the problem of clothes dryer fires, a fire suppression system can be used with sensors to detect the change in temperature when a blaze starts in a dryer drum. These sensors then activate a water vapor mechanism to put out the fire.


title: Clothes dryer

text: The environmental impact of clothes dryers is especially severe in the US and Canada, where over 80% of all homes have a clothes dryer. According to the US Environmental Protection Agency, if all residential clothes dryers sold in the U.S. were energy efficient, "the utility cost savings would grow to more than $1.5 billion each year and more than 22 billion pounds [10 billion kilograms] of annual greenhouse gas emissions would be prevented”.


title: Clothes dryer

text: Clothes dryers are second only to refrigerators and freezers as the largest residential electrical energy consumers in America.


title: Clothes dryer

text: In the European Union, the EU energy labeling system is applied to dryers; dryers are classified with a label from A+++ (best) to G (worst) according to the amount of energy used per kilogram of clothes (kW⋅h/kg). Sensor dryers can automatically sense that clothes are dry and switch off. This means over-drying is not as frequent. Most of the European market sells sensor dryers now, and they are normally available in condenser and vented dryers.


title: Très Riches Heures du Duc de Berry

text: The Très Riches Heures du Duc de Berry (; ) or Très Riches Heures, is the most famous and possibly the best surviving example of manuscript illumination in the late phase of the International Gothic style. It is a book of hours: a collection of prayers to be said at the canonical hours. It was created between and 1416 for the extravagant royal bibliophile and patron John, Duke of Berry, by the Limbourg brothers. When the three painters and their sponsor died in 1416, possibly victims of plague, the manuscript was left unfinished. It was further embellished in the 1440s by an anonymous painter, who many art historians believe was Barthélemy d'Eyck. In 1485–1489, it was brought to its present state by the painter Jean Colombe on behalf of the Duke of Savoy. Acquired by the Duc d'Aumale in 1856, the book is now MS 65 in the Musée Condé, Chantilly, France.


title: Très Riches Heures du Duc de Berry

text: Consisting of a total of 206 leaves of very fine quality parchment, in height by in width, the manuscript contains 66 large miniatures and 65 small. The design of the book, which is long and complex, has undergone many changes and reversals. Many artists contributed to its miniatures, calligraphy, initials, and marginal decorations, but determining their precise number and identity remains a matter of debate. Painted largely by artists from the Low Countries, often using rare and costly pigments and gold, and with an unusually large number of illustrations, the book is one of the most lavish late medieval illuminated manuscripts.


title: Très Riches Heures du Duc de Berry

text: After three centuries in obscurity, the Très Riches Heures gained wide recognition in the late nineteenth and twentieth centuries, despite having only very limited public exposure at the Musée Condé. Its miniatures helped to shape an ideal image of the Middle Ages in the collective imagination, often being interpreted to serve political and nationalist agendas. This is particularly true for the calendar images, which are the most commonly reproduced. They offer vivid representations of peasants performing agricultural work as well as aristocrats in formal attire, against a background of remarkable medieval architecture.


title: Très Riches Heures du Duc de Berry

text: The "Golden Age" of the book of hours in Europe took place from 1350 to 1480; the book of hours became popular in France around 1400 (Longnon, Cazelles and Meiss 1969). At this time many major French artists undertook manuscript illumination.


title: Très Riches Heures du Duc de Berry

text: John, Duke of Berry, is the French prince for whom the "Très Riches Heures" was made. Berry was the third son of the future king of France, John the Good, and the brother and uncle of the next two kings. Little is known of Berry's education, but it is certain that he spent his adolescence among arts and literature (Cazelles and Rathofer 1988). The young prince lived an extravagant life, necessitating frequent loans. He commissioned many works of art, which he amassed in his Saint Chapelle mansion. Upon Berry's death in 1416, a final inventory was done on his estate that described the incomplete and unbound gatherings of the book as the "très riches heures" ("very rich[ly decorated] hours") to distinguish it from the 15 other books of hours in Berry's collection, including the Belles Heures ("beautiful hours") and Petites Heures ("little hours") (Cazelles and Rathofer 1988).


title: Très Riches Heures du Duc de Berry

text: The Très Riches Heures has changed ownership many times since its creation. The gatherings were certainly in Berry's estate on his death in 1416, but after this little is clear until 1485. A good deal is known about the lengthy and messy disposal of Berry's goods to satisfy his many creditors, which was disrupted by the insanity of the king and the Burgundian and English occupation of Paris, but there are no references to the manuscript. It seems to have been in Paris for much of this period, and probably earlier; some borders suggest the style of the Parisian Bedford Master's workshop, and works from the 1410s to the 1440s by the Bedford workshop — later taken over by the Dunois Master — use border designs from other pages, suggesting that the manuscript was available for copying in Paris.


title: Très Riches Heures du Duc de Berry

text: Duke Charles I of Savoy acquired the manuscript, probably as a gift, and commissioned Jean Colombe to complete the manuscript around 1485–1489. Sixteenth-century Flemish artists imitated the figures or entire compositions found in the calendar (Cazelles and Rathofer 1988). The manuscript belonged to Margaret of Austria, Duchess of Savoy (1480–1530), Governor of the Habsburg Netherlands from 1507 to 1515 and again from 1519 to 1530.


title: Très Riches Heures du Duc de Berry

text: After this its history is unknown until the 18th century, when it was given its present bookbinding with the arms of the Serra family of Genoa, Italy.


title: Très Riches Heures du Duc de Berry

text: It was inherited from the Serras by Baron Felix de Margherita of Turin and Milan. The French Orleanist pretender, Henri d'Orléans, Duke of Aumale, then in exile at Twickenham near London, bought it from the baron in 1856. On his return to France in 1871 Aumale placed it in his library at the Château de Chantilly, which he bequeathed to the Institut de France as the home of the Musée Condé.


title: Très Riches Heures du Duc de Berry

text: When Aumale saw the manuscript in Genoa he was able to recognize it as a commission of Berry, probably because he was familiar with a set of plates of other manuscripts of Berry published in 1834, and subsidized by the government of the duke's father, King Louis Philippe I. Aumale gave the German art historian Gustav Friedrich Waagen breakfast and a private view of the manuscript at Orleans House, just in time for a 10-page account to appear in Waagen's "Galleries and Cabinets of Art in Great Britain" in 1857, so beginning its rise to fame. He also exhibited it in 1862 to the members of the Fine Arts Club.


title: Très Riches Heures du Duc de Berry

text: The connection with the "très riches heures" listed in the 1416 inventory was made by Léopold Victor Delisle of the Bibliothèque nationale de France and communicated to Aumale in 1881, before being published in 1884 in the "Gazette des Beaux-Arts"; it has never been seriously disputed. The manuscript took pride of place in a three-part article on all of Berry's manuscripts then known, and was the only one illustrated, with four plates in heliogravure. However the manuscript was called the "Grandes Heures du duc de Berry" in this, a title now given to another manuscript, based on its larger page size. The name "Heures de Chantilly" was also used in the next decades.


title: Très Riches Heures du Duc de Berry

text: A monograph with 65 heliogravure plates was published by Paul Durrieu in 1904, to coincide with a major exhibition of French Gothic art in Paris where it was exhibited in the form of 12 plates from the Durrieu monograph, as the terms of Aumale's bequest forbade its removal from Chantilly. The work became increasingly famous, and increasingly reproduced. The first colour reproductions, using the technique of photogravure, appeared in 1940 in the French art quarterly "Verve". Each issue of this lavish magazine cost three hundred francs. In January 1948, the very popular American photo-magazine "Life" published a feature with full-page reproductions of the 12 calendar scenes, at a little larger than their actual size but at very low-quality. Catering to American sensibilities of the time, the magazine censored one of the images by retouching the genitals of the peasant in the February scene. The Musée Condé decided in the 1980s, somewhat controversially, to remove the manuscript completely both from public display and scholarly access, replacing it with copies of a complete modern facsimile. Michael Camille argues that this completes the logic of the reception history of a work that has almost entirely become famous through reproductions of its images, with the most famous images having been seen in the original by only a very small number of people.


title: Très Riches Heures du Duc de Berry

text: There has been much debate regarding the identity and number of artists who contributed to the Très Riches Heures.


title: Très Riches Heures du Duc de Berry

text: In 1884, Léopold Delisle correlated the manuscript with the description of an item in an inventory drawn up after Berry's death: "several gatherings of a very rich book of hours ["très riches heures"], richly historiated and illuminated, that Pol [Paul] and his brothers made". Delisle's resulting attribution to Paul de Limbourg and his two brothers, Jean and Herman, "has received general acceptance and also provided the manuscript with its name."


title: Très Riches Heures du Duc de Berry

text: The three Limbourg brothers had originally worked under the supervision of Berry's brother, Philip the Bold, Duke of Burgundy, on a Bible Moralisée and had come to work for Berry after Philip's death. By 1411, the Limbourgs were permanent members of Berry's household (Cazelles and Rathofer 1988). It is also generally agreed that another of Berry's books of hours, the Belles Heures, completed between 1408 and 1409, can also be attributed to the brothers. It is thought that the Limbourg contribution to the Très Riches Heures was between about 1412 and their deaths in 1416. Documentation from 1416 was found indicating that Jean, followed by Paul and Herman, had died. Jean de Berry died later that year (Cazelles and Rathofer 1988). Apart from the main campaign of illumination, the text, border decorations, and gilding were most likely executed by assistants or specialists who remain unknown.


title: Très Riches Heures du Duc de Berry

text: The choice of castles in the calendar is one factor in the dating of the brothers' contribution. The Château of Bicêtre, just outside Paris, was one of Berry's grandest residences, but does not appear in the calendar. It seems likely that this was because no image had been created by October 1411, when a large mob from Paris looted it and set it on fire in the Armagnac–Burgundian Civil War. However the châteaux at Dourdan (April) and Étampes (July) are both shown, although Berry lost them to the Burgundians at the end of 1411, with Étampes being badly damaged in the siege.


title: Très Riches Heures du Duc de Berry

text: Folio 75 of the Très Riches Heures includes Duke Charles I of Savoy and his wife. The two were married in 1485 and the Duke died in 1489, implying that it was not one of the original folios. The second painter was identified by Paul Durrieu as Jean Colombe, who was paid 25 gold pieces by the Duke to complete certain canonical hours (Cazelles and Rathofer 1988).


title: Très Riches Heures du Duc de Berry

text: There were some miniatures which were incomplete and needed filling in, for example, the foreground figures and faces of the miniature illustrating the Office of the Dead, known as the "Funeral of Raymond Diocrès".


title: Très Riches Heures du Duc de Berry

text: There are other subtle differences between the miniatures created by the Limbourgs and Colombe. Colombe chose to set large miniatures in frames of marble and gold columns. His faces are less delicate, with more pronounced features. He also used a very intense blue paint that is seen in the landscape of some miniatures. Colombe is worked in his own style without attempting to imitate that of the Limbourgs (Cazelles and Rathofer 1988). In folio 75 he followed the Limbourgs by including a depiction of one of his patron's castles in the Duchy of Savoy in the landscape background.


title: Très Riches Heures du Duc de Berry

text: The "intermediate painter", also called the Master of the Shadows, as shadows are an element of his style, is often thought to be Barthélemy van Eyck (strictly the miniaturist known as the Master of René of Anjou, who is now normally identified with the documented painter Barthélemy van Eyck) who would probably have been at work in the 1440s. Other scholars put his work as early as the 1420s, though there is no documentation for this. At any rate, the intermediate artist is assumed to have worked on the manuscript sometime between 1416 and 1485. Evidence from the artistic style, as well as the details of costume, suggests that the Limbourgs did not paint some of the calendar miniatures. Figures in the miniatures for January, April, May, and August are dressed in styles from 1420. The figures strolling in October are dressed in a sober fashion indicative of the mid-fifteenth century. It is known that the gatherings fell into hands of King Charles VII after Berry's death, and it is assumed that the intermediate painter is associated with his court (Cazelles and Rathofer 1988).


title: Très Riches Heures du Duc de Berry

text: Catherine Reynolds, in an article of 2005, approached the dating of the "intermediate painter"'s work through the borrowings from it visible in the work of other Parisian illuminators, and placed it in the late 1430s or at the start of the 1440s. This is inconveniently early for what she describes as the "generally accepted" identification with Barthélemy van Eyck, and in any case she detects a number of stylistic differences between van Eyck and the "intermediate painter." Jonathan Alexander sees no stylistic need to hypothesize an intermediate painter at all.


title: Très Riches Heures du Duc de Berry

text: Pognon gives the following breakdown of the main miniatures in the Calendar, using more cautious stylistic names for the artists:


title: Très Riches Heures du Duc de Berry

text: In addition Pognon identifies the "pious painter" who painted many of the religious scenes later in the book during the initial campaign. The "courtly", "rustic" and "pious" painters would probably equate to the three Limbourg brothers, or perhaps other artists in their workshop. There are alternative analyses and divisions proposed by other specialists.


title: Très Riches Heures du Duc de Berry

text: A breviary consists of a number of prayers and readings in a short form, generally for use by the clergy. The book of hours is a simplified form of breviary designed for use by the laity where the prayers are intended for recital at the canonical hours of the liturgical day. Canonical hours refer to the division of day and night for the purpose of prayers. The regular rhythm of reading led to the term "book of hours".(Cazelles and Rathofer 1988)


title: Très Riches Heures du Duc de Berry

text: The book of hours consists of prayers and devotional exercises, freely arranged into primary, secondary and supplementary texts. Other than the calendar at the beginning, the order is random and can be customized for the recipient or region. The Hours of the Virgin were regarded as the most important, and therefore subject to the most lavish illustration. The Très Riches Heures is rare in that it includes several miracles performed before the commencement of the passion (Cazelles and Rathofer 1988).


title: Très Riches Heures du Duc de Berry

text: The parchment or vellum used in the 206 folios is fine quality calfskin. All bi-folios are complete rectangles and the edges are unblemished and therefore must have been cut from the centre of skins of sufficient size. The folios measure 30 cm in height by 21.5 cm in width, although the original size was larger as evidenced by several cuts into the miniatures. The tears and natural flaws in the vellum are infrequent and almost go unnoticed (Cazelles and Rathofer 1988).


title: Très Riches Heures du Duc de Berry

text: The ground colors were moistened with water and thickened with either gum Arabic or tragacanth gum. Approximately ten shades are used besides white and black. The detailed work required extremely small brushes and probably a lens (Longnon, Cazelles and Meiss 1969).


title: Très Riches Heures du Duc de Berry

text: The contents of the book are typical of those of a book of hours, though the quantity of illumination is extremely unusual.


title: Très Riches Heures du Duc de Berry

text: The Limbourg brothers had artistic freedom but worked within a framework of the religious didactic manuscript. Several artistic innovations by the Limbourg brothers can be noticed in the Très Riches Heures. In the October miniature, the study of light was momentous for Western painting (Cazelles and Rathofer 1988). People were shown reflected in the water, the earliest representation of this type of reflection known thus far. Miniature scenes had new informality, with no strong framing forms at the edges. This allowed for continuity beyond the frame of view to be vividly defined. The Limbourgs developed a more naturalistic mode of representation and developed portraiture of people and surroundings. Religious figures do not inhabit free open space and courtiers are framed by vegetation. This is reminiscent of a more classical representation (Longnon, Cazelles and Meiss 1969). Some conventions used by the Limbourgs, such as a diaper background or the portrayal of night, were influenced by artists such as Taddeo Gaddi. These conventions were transformed completely into the artist's unique interpretation (Longnon, Cazelles and Meiss 1969).


title: Très Riches Heures du Duc de Berry

text: Manion offers a stylistic analysis of the psalter specifically. The psalters offer a systematic program of illuminations corresponding to the individual psalms. These images are linked together, but are not in the numerical order of the psalter. This emphasizes the idea of the abbreviated psalter, where each psalm is illustrated once (Manion 1995). The miniatures are not modeled on any specific visual or literary precedence when compared with other fourteenth century psalters. The manuscript offers a literal interpretation of the words and lacks a selection of more personal prayers. This emphasizes the didactic use of the book of hours (Manion 1995).


title: Tony Montana (filmmaker)

text: Montana began acting on television in 1988 with a four year stint portraying a villain wrestling manager on Chicago’s SportsChannel most notably managing WWE Hall of Fame Superstar Abdullah the Butcher.


title: Tony Montana (filmmaker)

text: Montana studied acting with Bill Hickey (protege' of Uta Hagen), Tracey Roberts (protege' of Elia Kazan), Joel Asher (protege' of Sanford Meisner), David LeGrant (protege' of Lee Strasberg), and Catherine Carlen (protege' of Stella Adler).


title: Tony Montana (filmmaker)

text: In 1996, Montana began an eight year journey producing and directing "Overnight" which chronicled the rise and fall of Troy Duffy, director of "The Boondock Saints". The film documents Duffy's clash with Miramax co-founder Harvey Weinstein and subsequent blacklisting in Hollywood. Premiering at the 2004 Sundance Film Festival, "Overnight" was theatrically released in North America, Australia, Germany, Denmark, the United Kingdom and Russia.


title: Tony Montana (filmmaker)

text: The film received two thumbs up on "At the Movies" with Roger Ebert proclaiming it "the best documentary about Hollywood I have seen". Screen International recommended "Overnight" as "a must-see for anyone in the film business and a necessary addition to any film school curriculum". In an editorial in the same issue titled "Let It Be A Warning To Us All", Mike Goodridge described Duffy's flameout as "the well-deserved fall of a 25 year-old man whose monumental ego is one of the most memorable movie monsters in years".


title: Tony Montana (filmmaker)

text: Montana was one of the first independent filmmakers the late film critic Roger Ebert tweeted about when social media site Twitter first launched in 2006. After attending the 2008 Palm Springs International Festival of Short Films screening of "Rebuilt", Ebert tweeted "A flawless performance by Tony Montana". Of Montana's 2010 short film "Discover", Ebert tweeted "How powerful can a 90-second film be?"


title: Tony Montana (filmmaker)

text: In 2017, Montana accused actor Kevin Spacey of having sexually assaulted him in 2003. The story was reported by Fox News, the "Los Angeles Times", "The Huffington Post", and "USA Today". Montana was extensively interviewed on camera for the November 10, 2017 edition of "ABC News Nightline".


title: Tony Montana (filmmaker)

text: In the December 13, 2017 issue of "Variety", Montana stood alongside other victims of sexual assault, including actresses Natasha Henstridge, Leeann Tweeden and Erika Rosenbaum. In the article, titled "Justice League", Montana was optimistic about the #MeToo movement, saying, “Fortunately the tide is turning and the monsters are being vanquished. It is indeed a reckoning."


title: Tony Montana (filmmaker)

text: In a 2013 interview with "Little White Lies" magazine, Montana revealed he has had relationships with Academy Award winner Angelina Jolie, "Boxing Helena" director Jennifer Lynch, Madonna's clothing designer Leslie Hamel, and adult film star Bobbi Bliss.


title: Vijay Salaskar

text: Vijay Salaskar, AC (24 February 1957 – 26 November 2008) was an Indian police inspector and encounter specialist with the Mumbai police. He was widely credited with killing 75–80 criminals in encounters – most of these were members of the Arun Gawli gang. Salaskar was killed while fighting terrorists in the November 2008 Mumbai attacks.


title: Vijay Salaskar

text: Before his death Salaskar was head of the Anti-Extortion Cell, Mumbai. His patriotism and bravery was honoured with the Ashoka Chakra on 26 January 2009.


title: Vijay Salaskar

text: He joined Bombay Police (now Mumbai Police) as a sub inspector in 1983. "India Today" reports Salaskar's first lethal encounter occurred during his first year of appointment, when he shot dead Raja Shahabuddin, known to police on several counts.


title: Vijay Salaskar

text: Salaskar, who was reportedly sidelined for the last two years for unearthing the gutka-underworld nexus, was recently attached to the crime branch, where he headed the anti-extortion cell. An officer of the 1983 batch, Salaskar in his 24 years of service had eliminated many criminals. According to sources, the police officer had once even gone hunting for former don Arun Gawli. But Gawli fled from the scene, forcing Salaskar to return empty-handed. However, Salaskar got even by killing his two trusted men, Sada Pawle and Vijay Tandel, in 1997, triggering allegations that the encounters were fake.


title: Vijay Salaskar

text: This is what Salaskar said in 2004 about Gawli. "Gawli may have become an MLA. But for me, he continues to remain a former Mumbai don and I have to keep tabs on his activities. If I get any information of his group's involvement in a crime or learn about any shady activity going on at Dagdi Chawl, I will not hesitate to raid his Byculla residence. If I have to arrest him, I will not refrain from doing so. Now that Gawli is an MLA, arresting him will involve certain procedures. I will not bow to any political pressure. I will only take orders from the police commissioner, who is my supreme commander. It was embarrassing that khaki-clad policemen would be deployed to protect Gawli. In the past, we refused him police protection on several occasions. At that time, I had gunned down several of his top henchmen and so he was scared of me. But if Gawli is really reformed, he should not be afraid of me or any other policeman. We do not target innocent persons."


title: Vijay Salaskar

text: "India Express" quotes statements by Constable Arun Jadhav, who was with the officers Vijay Salaskar, Ashok Kamte and Hemant Karkare when they died.


title: Vijay Salaskar

text: The three officers and four constables had received information that Sadanand Date had been wounded while resisting hostile terrorist action at the Cama and Albless Hospital for women and children.


title: Vijay Salaskar

text: Currently located at Chhatrapati Shivaji Terminus (CST), a ten-minute drive from the hospital, they took a Toyota Qualis and proceeded in that direction. Salaskar was driving, Ashok Kamte in the passenger seat, Hemant Karkare in the second row, and the four Constables, including Jadhav, were in the back row of seating. According to Jadhav, five minutes later two terrorists stepped out from behind a tree and opened fire with AK-47 automatic rifles. The six policemen, other than Jadhav, were all killed quickly in the gunfire. The wounded Jadhav had no opportunity to render assistance. The two terrorists approached the vehicle, dumped the bodies of the three officers on the road and, leaving the constables for dead, proceeded to Metro Junction. Upon arrival, they aimed three bursts of automatic fire at police and journalist vehicles drawn up at that location, then drove off towards the government offices (Vidhan Bhawan) in South Mumbai. Here again they fired several times. While attempting to leave the area, one of the tyres of the vehicle burst, so the terrorists departed to obtain another. At this point, Jadhav was able to contact headquarters. The bodies of the dead were promptly recovered and taken to St George Hospital.


title: Chokhmah

text: Chokmah (Hebrew: חָכְמָה ) is the Biblical Hebrew word rendered as "wisdom" in English Bible versions (LXX "sophia", Vulgate "").


title: Chokhmah

text: The word occurs 149 times in the Masoretic Text of the Hebrew Bible It is cognate with the Arabic word for "wisdom", "ḥikma" (Semitic root ).


title: Chokhmah

text: Adjectival "wise" is used as a honorific, as in "Talmid Chacham" (lit. "student of a sage") for a Torah scholar, or "hakham Bashi" for a chief rabbi.


title: Chokhmah

text: The Talmud (Shabbat 31a) describes knowledge of the Talmudic order of Kodshim as a high level of wisdom, "chokhmah". In the Kabbalah, "Chokhmah" is the uppermost of the sephirot of the right line ("kav yamin", the "Pillar of Mercy") in the Tree of Life.


title: Chokhmah

text: It is to the bottom right of Keter, with Binah across from it. Under it are the "sephirot" of Chesed and Netzach. It commonly has four paths going to Keter, Binah, Tifereth, and Chesed (Some kabbalists such as Rabbi Isaac Luria also attributed a path between Chokhmah and Gevurah).


title: Chokhmah

text: Proverbs personifies Divine Wisdom, which existed before the world was made, revealed God, and acted as God's agent in creation ( cf. 3:19; ; ). Wisdom dwelt with God (; cf. ; ) and being the exclusive property of God was as such inaccessible to human beings (). It was God who "found" wisdom () and gave her to Israel: "He hath found out all the way of knowledge, and hath given it unto Jacob his servant, and to Israel his beloved. Afterward did he shew himself upon earth, and conversed with men." (; ).


title: Chokhmah

text: As a female figure (Sir. 1:15; Wis. 7:12), wisdom addressed human beings (Prov. 1:20–33; 8:1–9:6) inviting to her feast those who are not yet wise (Prov. 9:1-6).


title: Chokhmah

text: "For she is the breath of the power of God, and a pure influence flowing from the glory of the Almighty: therefore can no defiled thing fall into her. For she is the brightness of the everlasting light, the unspotted mirror of the power of God, and the image of his goodness. And being but one, she can do all things: and remaining in herself, she maketh all things new: and in all ages entering into holy souls, she maketh them friends of God, and prophets." ().


title: Chokhmah

text: Solomon, as the archetypal wise person, fell in love with Wisdom: "I loved her, and sought her out from my youth, I desired to make her my spouse, and I was a lover of her beauty." ().


title: Chokhmah

text: According to the Bahir: "The second (utterance) is wisdom, as is written: 'Y-H-W-H acquired me at the beginning of His way, before His deeds of old' (Prov 8:22). And there is no 'beginning' but wisdom."


title: Chokhmah

text: Chokhmah, the second of the ten sefirot, is the first power of conscious intellect within Creation, and the first point of 'real' existence, since Keter represents emptiness. According to the book of Job, "Wisdom comes from nothingness". This point is both infinitely small, and yet encompasses the whole of being, but it remains incomprehensible until it is given shape and form in Binah.


title: Chokhmah

text: Chokhmah appears in the configuration of the "sefirot" at the top of the right axis, and corresponds in the "tzelem Elokim" ("the Divine image") to the left eye, or right hemisphere of the brain.


title: Chokhmah

text: In its fully articulated form, Chokhmah possesses two "partzufim" ("faces" or "features"): the higher of these is referred to as "Abba Ila'ah" ("the higher father"), whereas the lower is referred to as Yisrael Saba ("Israel, the Elder"). These two "partzufim" are referred to jointly as "Abba" ("father").


title: Chokhmah

text: Chokhmah is associated in the soul with the power of intuitive insight, flashing lightning-like across consciousness. The "partzuf" of "Abba Ila'ah" is associated with the power to spontaneously extract such insight from the superconscious realm, whereas the "partzuf" of "Yisrael Saba" is associated with the power to subsequently direct it into consciousness.


title: Chokhmah

text: The "wisdom" of Chokhmah also implies the ability to look deeply at some aspect of reality and abstract its conceptual essence till one succeeds in uncovering its underlying axiomatic truth. These seeds of truth can then be conveyed to the companion power of Binah for the sake of intellectual analysis and development.


title: Chokhmah

text: Chokhmah is the primary ("beginning") force in the creative process, Creativity, as it is said: "You have made them all with Chokhmah." (Psalms 104:24) The first word of the Torah in Genesis, "Breishit" means "In the beginning (God created the heavens and the earth)", is translated (Targum Yonatan) as "With Chokhmah (God created…)."


title: Chokhmah

text: Chokhmah is also called Fear, 'because it has no measure of boundary, and therefore the mind does not have the power to grasp it'. The book of Job states 'Behold the fear of God is wisdom, and to depart from evil is understanding' (Job 28:28).


title: Chokhmah

text: In the array of sefirot in three columns ("gimel kavim"), Chokmah is situated at the top of the right column, and corresponds to the right hemisphere of the brain. There are several aspects of Chokhmah:


title: Chokhmah

text: The word Chokhmah itself may be broken into two words -- "koach" ("potential") and "ma" ("what is"). Thus, Chokhmah means "the potential of what is", or, "the potential to be." This aspect of Chokhmah describes the state of Chokhmah in relation to the sefira of Keter. As Chokhmah emanates from Keter, the first dawning of the "Infinite Light", it "appears" in an obscure and undefined state that is a virtual non-being. Thus the verse states, "and Chokhmah emerges from nothingness" (Job 28:12, see Zohar II, 121a, Zohar III, 290a, commentaries). The light of the Ein Sof becomes unified in the world of "Atziluth" through clothing itself first in the sefira of Chokhmah. In the soul, Chokhmah is associated with the power of intuitive insight.


title: Chokhmah

text: In the Zohar Chokhmah is the primordial point which shines forth from the will of God and thus, is the starting point of Creation. All things are still undifferentiated at this point and only become intelligible at Binah.


title: Chokhmah

text: According to the Hermetic Order of the Golden Dawn, the name of God associated with Chokmah is Jehovah, the archangel that presides over it is Raziel, the order of angels that reside in it are the Ophanim (the wheels), the Heaven of Assiah associated with it is called Mazloth, implying the fulfillment of destiny, and the mundane chakra associated with it is the Zodiac.


title: Chokhmah

text: In Aleister Crowley's "Liber 777", Chokhma is represented as The Four twos of the Tarot, Illuminating, Thoth, Vishnu, Joy, Odin, Uranus, Athena, God the Father, Man, Amaranth, Lingam, Hashish, Phosphorus, Musk, and Yang (not a complete list).


title: Yuvvraaj

text: Yuvvraaj () is a 2008 Indian drama film directed and produced by Subhash Ghai. The film stars Anil Kapoor, Salman Khan, Zayed Khan, Katrina Kaif and Boman Irani. "Yuvvraaj" is a musical story of a fragmented family of three brothers who try to con each other to inherit their father's wealth. According to the director, the film is about the arrogance and overconfidence of contemporary youth. The film was released on 21 November 2008. Although the film received mixed reviews from critics and bombed at the box-office, its script was added to the library of the Academy of Motion Picture Arts and Sciences in 2009.


title: Yuvvraaj

text: Deven Yuvvraaj "Dev" Singh (Salman Khan) is a struggling singer who Dr. P. K. Banton (Boman Irani), his girlfriend Anushka’s (Katrina Kaif) father, dislikes because he is not wealthy and is rather careless at times. He signs an agreement to become a billionaire in 40 days. To acquire this wealth, he has to go through an emotional roller coaster journey of joy and pain with his two estranged brothers, Gyanesh Kumar Yuvvraaj Singh (Anil Kapoor) and Danny Yuvvraaj Singh (Zayed Khan), who he meets after 12 years. On meeting them, he is shocked to see that his father has left everything to the mentally challenged Gyanesh. So both Danny and Deven make an agreement to scam their brother out of his money. Danny's attempt to blackmail Gyanesh to make him lie in front of some lawyers fails and he assaults Gyanesh. Deven intervenes and plays the good guy and helps Gyanesh and takes him to Austria in an attempt to win him. There Anushka and Gyanesh get on very well and she is amazed by his singing talent. She lets him into her orchestra which is due to perform in front of thousands of people. Deven gets jealous as Anushka and Gyanesh get on so well but soon learns to love his brother.


title: Yuvvraaj

text: Danny, now penniless and thrown out of all the luxurious clubs, loses his girlfriend. He meets up with Deven and Gyanesh and they all become loving brothers again and forget about the money. Deven and Danny's maternal uncle and his family decide to poison Gyanesh to get his money. They show Gyanesh a recording of Deven and Danny plotting to scam Gyanesh out of his money which breaks his heart. They then switch his inhaler with one containing poison and leave. Gyanesh, shocked and breathless uses his inhaler and fights with his brothers who realize that he knows about their plot. Heartbroken Gyanesh performs on stage when Deven shows up and they do a duet with Deven singing about forgiveness. Onstage Gyanesh collapses and Deven takes him to hospital whilst Danny gets the police to arrest the family members who tried to poison Gyanesh. At the hospital, Deven is informed that the only doctor available is Dr. Banton who refuses to help. Dr. Banton accuses him of only wanting Gyanesh to survive for the money so he can marry his daughter but Deven breaks down and tells Dr. Banton that if he saves Gyanesh he will not marry Anushka saying he just wants to keep his family together. Dr. Banton is shocked by Deven's sense of responsibility and saves Gyanesh. He then allows Deven to marry Anushka now that he has become a changed man who cares about his family. The ending is a dance scene featuring the cast and crew of the film.


title: Yuvvraaj

text: Although a part of the film supposedly plays in the Czech capital Prague, the corresponding outdoor shots were actually filmed in the Austrian mountain province Tyrol. Scenes filmed in the province's capital Innsbruck feature many of the city's sights, such as the imperial castle, St. James's Cathedral, the main street and the ski jumping arena.


title: Yuvvraaj

text: The film received mixed reviews from critics. Taran Adarsh from "Bollywood Hungama" gave the film 3 out of 5 saying "On the whole, Yuvvraaj is interesting in parts, with the penultimate 20/25 minutes taking the film to an all-time high". Martin D'Souza of "Glamsham" giving it 3 from 5 stars said " In short, there's nothing new, script wise, but the way it has been backed with music and choreography is what lifts this mundane script to another level. The execution is 'perfect'". Nikhat Kazmi from "Times of India" rated it 3 out of 5 while praising the music, cinematography and performances by Salman Khan, Anil Kapoor and Katrina Kaif. "IndiaGlitz" also gave it 3 out of 5 and said "As a whole, Yuvvraaj is splendiferous in all parts with exceptional performance by all and it's a perfect family entertainer".


title: Yuvvraaj

text: The film also received a number of negative reviews. Nikhil Kumar from "Apunkachoice" gave it 2.5/5 and said "The biggest flaw of 'Yuvvraaj' is that its story belongs to a period when the audiences used to lap up anything tossed at them. Sure, 'Yuvvraaj' has terrific cinematography and a few soulful tunes by A.R Rahman, But the style of telling the tale is so outdated, that at many times in 'Yuvvraaj' you feel you are watching a rerun of 'Ram Lakhan' or Taal". Rajeev Masand of "IBN Live" gave the film 1 out of 5 stars saying "Yuvvraaj doesn't quite hit the right note because it's an archaic drama that feels too tired. Barring a handful of vintage Subhash Ghai moments that still work, the film sadly is far from his best work". Sonia Chopra of "Sify" gave the film 1.5/5.


title: Yuvvraaj

text: Yuvraaj was released with around 1000 prints in India, but it opened to a good response. The film only managed to collect around . Box Office India declared it a major flop.


title: Yuvvraaj

text: The score, composed by A. R. Rahman was performed by the Chennai String Orchestra, and utilizes Western classical music and retro disco music. The orchestra also performs Beethoven's Fifth Symphony. The soundtrack album was released on 16 October 2008. Salman Khan himself promoted the music saying that it is the USP of Yuvvraaj. The song "Tu Meri Dost Hai" became a chartbuster.


title: Yuvvraaj

text: The album received positive reviews. "Gulzar" said "music of Yuvvraaj is magnificent". Usha Lakra from "Apunkachoice" gave it 4.5/5 saying "In 'Yuvvraaj', A.R Rahman has come up with such an album that it's hard to match its excellence with any other contemporary album. And music lovers should be grateful to Subhash Ghai for conceiving such a theme where this high quality music can be used". "Rediff.com" gave it 4 out of 5 stars and said Rahman excels in Yuvvraaj.


title: Soul to Squeeze

text: "Soul to Squeeze" is a song by the American rock band Red Hot Chili Peppers that was originally recorded during the production of their fifth studio album, "Blood Sugar Sex Magik" (1991). Although it was not featured on the record and was used as a B-side on the singles "Give It Away" and "Under the Bridge", "Soul to Squeeze" was later released as a single in 1993. The song was included in the "Coneheads" film soundtrack. "Soul to Squeeze" was eventually re-released for the 2003 "Greatest Hits" album. It can also be found on the band's "Live Rare Remix Box" and "The Plasma Shaft".


title: Soul to Squeeze

text: "Soul to Squeeze" became a success when it peaked at number one on the US "Billboard" Modern Rock Tracks chart. The single also peaked at number 22 on the "Billboard" Hot 100 and number seven on the "Billboard" Album Rock Tracks chart. In Australia, Canada, Iceland, and New Zealand, the song reached the top 10, and in Sweden, it became the band's first single to chart, peaking at number 13.


title: Soul to Squeeze

text: The music video for "Soul to Squeeze" was directed by Kevin Kerslake and was shot in black and white. The video is "set at a traveling circus with the band members playing various 'freaks' and makes several references to ["Coneheads"], including a cameo from Chris Farley". John Frusciante does not appear in the video, as he had left the band over a year before it was filmed.


title: Little Miss Muffet

text: "Little Miss Muffet" is an English nursery rhyme of uncertain origin, first recorded in 1805. It has a Roud Folk Song Index number of 20605.


title: Little Miss Muffet

text: The rhyme first appeared in print in "Songs for the Nursery" (1805), and there have been many variants since. "The Oxford Dictionary of Nursery Rhymes" gives the following:


title: Little Miss Muffet

text: Older versions sometimes use "of" rather than "her" in line 3, and refer to a "little spider" as in this example dating between 1837 and 1845:


title: Little Miss Muffet

text: There are several early-published versions with significant variations including "Little Mary Ester sat upon a tester" (1812) and "Little Miss Mopsey, Sat in the shopsey" (1842). Other collected variants have included "Little Miss Muffet, sat on a toffet" (1830s?) and "Little Miss Muffet, sat on a buffet" (1840s?). In a later United States example, "whey" was replaced with "pie".


title: Little Miss Muffet

text: Although the word "tuffet" is now sometimes used to mean a type of low seat, the word in the rhyme probably refers to a grassy hillock, small knoll or mound (a variant spelling of an obsolete and rare meaning of "tuft"). The Oxford English Dictionary calls the "hassock or footstool" meaning "doubtful", and "perhaps due to misunderstanding of the nursery rhyme".


title: Little Miss Muffet

text: The origins of the rhyme are unclear. Although no record has been found before 1805, Iona and Peter Opie argue that it is likely to be considerably older given its similarity to other rhymes such as "Little Polly Flinders", "Little Poll Parrot", "Little Tommy Tacket", "Little General Monk" and "Little Jack Horner" (the last known to have been current at least as early as 1720). It is possible that all of these rhymes, and others, are parodies of whichever unknown rhyme came first.


title: Little Miss Muffet

text: It is sometimes claimed – without evidence – that the original Miss Muffet was Patience, daughter of Dr Thomas Muffet (d.1604), an English physician and entomologist, but the Opies are sceptical given the two-hundred year gap between his death and the rhyme's appearance. It has also been claimed to refer to Mary, Queen of Scots (1543–1587), frightened by the religious reformer John Knox (1510–1572).


title: Little Miss Muffet

text: Several novels and films, including the Alex Cross novel "Along Came a Spider" (1993) and its eponymous 2001 film adaptation, take their titles from the poem's crucial line.


title: Foreshadowing

text: Foreshadowing is a narrative device in which a storyteller gives an advance hint of what is to come later in the story. Foreshadowing often appears at the beginning of a story, and it helps develop or subvert the audience's expectations about upcoming events.


title: Foreshadowing

text: The writer may implement foreshadowing in many different ways. Some of these ways include: character dialogues, plot events, and changes in setting. Even the title of a work or a chapter can act as a clue that suggests what is going to happen. Foreshadowing in fiction creates an atmosphere of suspense in a story, so that the readers are interested and want to know more.


title: Foreshadowing

text: This literary device is generally used to build anticipation in the minds of readers about what might happen next, thus adding dramatic tension to a story. Moreover, foreshadowing can make extraordinary and bizarre events appear credible, some events are predicted in order to make the audience feel anticipated for them.


title: Foreshadowing

text: Hints may be about future events, character revelations, and plot twists to create mood, convey theme and building suspense, usually to hint the good events that will likely cross paths or happen to the main character later on.


title: Foreshadowing

text: Plot can be delayed by situations or events to give the impression that something momentous will occur to build anticipation and emphasize importance to them, giving the audience a series of questions particularly after cliff hangers.


title: Foreshadowing

text: This literary device is frequently adapted for use by composers of theatrical music, in the composition of operas, musicals, radio, film, television, gaming, podcast, and internet scores and underscores, and incidental music for spoken theatrical productions.


title: Foreshadowing

text: Foreshadowing can be accomplished by the use of story-driven or fictional events which can bring original dialogue, emotional investment in the plot, such as for the main character, unknown and present characters.


title: Foreshadowing

text: A flashback is the interruption of a sequential narrative plot to present important events that have happened in the past to present plot points that are difficult to bring into the narrative, such as character traits, events, or themes which may drive the current narrative or to be revealed.


title: Foreshadowing

text: Flashforwards move the plot forward in time where formerly revealed or new character traits, events or themes are brought into the story. They might embellish past or current plot points.


title: Foreshadowing

text: A red herring is a hint designed to mislead the audience. Foreshadowing only hints at a possible outcome within the confinement of a narrative, and leads readers in the right direction.


title: Foreshadowing

text: A flashforward is a scene that takes the narrative forward in time from the current point of the story in literature, film, television, and other media. Foreshadowing is sometimes employed through characters' explicitly predicting the future. Flash-forward occurs when scenes are shown out of chronological order in a nonlinear narrative, and chronology is inconsistent in an anachronist order such as to get the reader or audience thinking about the climax or reveals.


title: Foreshadowing

text: Chekhov's gun dictates that everything superfluous must be deleted. In relation to foreshadowing, literary critic Gary Morson describes its opposite, sideshadowing. Found notably in the epic novels of Leo Tolstoy and Fyodor Dostoevsky, it is the practice of including scenes that turn out to have no relevance to the plot. This, according to Morson, increases the verisimilitude of the fiction because the audience knows that in real life, unlike in novels, most events are in fact inconsequential. This "sense of structurelessness" invites the audience to "interpret and question the events that actually do come to pass".


title: Emil Jannings

text: Emil Jannings (born Theodor Friedrich Emil Janenz, 23 July 1884 – 2 January 1950) was a Swiss born German actor, popular in the 1920s in Hollywood. He was the first recipient of the Academy Award for Best Actor for his roles in "The Last Command" and "The Way of All Flesh". As of , Jannings is the only German ever to have won the category.


title: Emil Jannings

text: Jannings is best known for his collaborations with F. W. Murnau and Josef von Sternberg, including the 1930 film "The Blue Angel" ("Der blaue Engel", with Marlene Dietrich. "The Blue Angel" was meant as a vehicle for Jannings to score a place for himself in the new medium of sound film, but Dietrich stole the show. Jannings later starred in a number of Nazi propaganda films, which made him unemployable as an actor after the defeat of Nazi Germany.


title: Emil Jannings

text: Jannings was born in Rorschach, Switzerland, the son of Emil Janenz, an American businessman from St. Louis, and his wife Margarethe ("née" Schwabe), originally from Germany. Jannings held German citizenship; while he was still young the family moved to Leipzig in the German Empire and further to Görlitz after the early death of his father.


title: Emil Jannings

text: Jannings ran away from school and went to sea. When he returned to Görlitz, his mother finally allowed him to begin a traineeship at the town state theatre, where he started his stage career. From 1901 onwards he worked with several theatre companies in Bremen, Nuremberg, Leipzig, Königsberg, and Glogau before joining the Deutsches Theater ensemble under director Max Reinhardt in Berlin. Permanently employed since 1915, Jannings met with playwright Karl Vollmöller, fellow actor Ernst Lubitsch, and photographer Frieda Riess. After World War I all were at the heart of Weimar Culture in 1920s Berlin. Jannings made his breakthrough in 1918 with his role as Judge Adam in Kleist's "Broken Jug" at the Schauspielhaus.


title: Emil Jannings

text: Jannings was a theater actor who went into films, though he remained dissatisfied with the limited expressive possibilities in the silent era. Having signed a contract with the UFA production company, he starred in "Die Augen der Mumie Ma" ("The Eyes of the Mummy", 1918) and "Madame DuBarry" (1919), both with Pola Negri in the main female part. He also performed in the 1922 film version of "Othello" and in F. W. Murnau's 1924 film "The Last Laugh" ("Der Letzte Mann"), as a proud but aged hotel doorman who is demoted to a restroom attendant. Jannings worked with Murnau on two other films; playing the title character in "Tartuffe" ("Herr Tartüff", 1925), and as Mephistopheles in "Faust" (1926).


title: Emil Jannings

text: His increasing popularity enabled Jannings to sign an agreement with Paramount Pictures and eventually follow his acting colleagues Lubitsch and Negri to Hollywood. He started his career in 1927 with "The Way of All Flesh" directed by Victor Fleming (now lost) and in the following year performed in Josef von Sternberg's "The Last Command". In 1929, Jannings won the first Best Actor Oscar for his work in both films. He and Sternberg also cooperated in "Street of Sin" (1928), though they actually differed about Jannings' acting in front of the camera.


title: Emil Jannings

text: His Hollywood career came to an end with the advent of talkies as his thick German accent was difficult to understand. His dialogue was initially dubbed by another actor in the part-talkie "The Patriot" (1928) directed by Ernst Lubitsch, although Jannings' own voice was restored after he objected. Returning to Europe, he starred opposite Marlene Dietrich in the 1930 film "The Blue Angel", which was filmed simultaneously in English with its German version "Der blaue Engel".


title: Emil Jannings

text: According to Susan Orlean, author of "Rin Tin Tin: The Life and The Legend", Jannings was not actually the winner of the first best actor vote, but the runner-up. While researching her book, Orlean thought she discovered that it was in fact Rin Tin Tin, the German Shepherd dog, one of the biggest movie stars of his time, who won the vote. The Academy, however, worried about not being taken seriously if they gave the first Oscar to a dog, chose to award the Oscar to the human runner-up.


title: Emil Jannings

text: In 1960, Jannings was posthumously honored with a star on the Hollywood Walk of Fame at 1630 Vine Street for his contribution to motion pictures.


title: Emil Jannings

text: After the Nazi seizure of power in 1933, Jannings continued his career in the service of Nazi cinema. In Nazi Germany, he starred in several films which were intended to promote Nazism, particularly the "Führerprinzip" by presenting unyielding historical characters, such as "Der alte und der junge König" ("The Old and the Young King" 1934), "Der Herrscher" ("The Ruler" 1937) directed by Veit Harlan, "Robert Koch" (1939), "Ohm Krüger" ("Uncle Kruger", 1941) and "Die Entlassung" ("Bismarck's Dismissal", 1942). He also performed in his famed role in "The Broken Jug" directed by Gustav Ucicky. Minister of Propaganda Joseph Goebbels named Jannings an "Artist of the State" ("Staatsschauspieler")


title: Emil Jannings

text: The shooting of his last film "Wo ist Herr Belling?" was aborted when troops of the Allied Powers entered Germany in Spring 1945. Jannings reportedly carried his Oscar statuette with him as proof of his former association with Hollywood. However, his active role in Nazi propaganda meant that he was subject to denazification, effectively ending his career.


title: Emil Jannings

text: In the same period Dietrich became a US citizen and an influential anti-Nazi activist, spending much of the war entertaining troops on the front lines and broadcasting on behalf of the OSS. Dietrich particularly loathed Jannings for his Nazi ties, and would later refer to her former co-star as a "ham".


title: Emil Jannings

text: Jannings retired to Strobl near Salzburg, Austria, and became an Austrian citizen in 1947. He died in 1950, aged 65, from liver cancer. He is buried in the St. Wolfgang cemetery. His Best Actor Oscar is now on display at the Berlin Filmmuseum.


title: Emil Jannings

text: Jannings was married four times. His first three marriages ended in divorce, his last with his death. His last three marriages were to German stage and film actresses, Hanna Ralph, Lucie Höflich, and Gussy Holl. He had a daughter, Ruth-Maria (born 1920), from his first marriage to Lucy Höfling.


title: Dunkerque-class battleship

text: The "Dunkerque" class was a pair of fast battleships built for the French Navy in the 1930s; the two ships were and . They were the first French battleships built since the of pre-World War I vintage, and they were heavily influenced by the Washington Treaty system that limited naval construction in the 1920s and 1930s. French battleship studies initially focused on countering fast Italian heavy cruisers, leading to early designs for small, relatively lightly protected capital ships. But the advent of the powerful German s proved to be more threatening to French interests, prompting the need for larger and more heavily armed and armoured vessels. The final design, completed by 1932, produced a small battleship armed with eight guns that were concentrated in two quadruple gun turrets forward, with armour sufficient to defeat the "Deutschland"s guns. "Strasbourg" was completed to a slightly modified design, receiving somewhat heavier armour in response to new Italian s. Smaller and less heavily armed and armoured than all other treaty battleships, the "Dunkerque"s have sometimes been referred to as battlecruisers.


title: Dunkerque-class battleship

text: The two ships had relatively short careers; completed just before the outbreak of World War II, they served briefly with the Atlantic Squadron in the late 1930s, and "Dunkerque" made several visits abroad, including to French West Africa in 1938 and visits to Britain in 1937 and 1939. With war looming in August 1939, the French created the "Force de Raid" (Raiding Force), centred on the two "Dunkerque"s, which was tasked with hunting down the "Deutschland"s that were expected to operate in the Atlantic as commerce raiders. The French never caught the German cruisers, and instead the vessels were sent to Mers-el-Kébir to deter Italy from entering the war against France. After Germany defeated France in the Battle of France in June 1940, the French were forced to neutralise their fleet, and the two "Dunkerque"s were to remain inactive at Mers-el-Kébir. Unaware that Germany had no intention of seizing the ships, the British sent Force H to sink the ships; "Dunkerque" was damaged in the Attack on Mers-el-Kébir in July, but "Strasbourg" escaped to Toulon, where she became the flagship of the "Forces de haute mer" (High Seas Forces).


title: Dunkerque-class battleship

text: "Dunkerque" was badly damaged in another attack but was temporarily repaired and eventually returned to Toulon for permanent repairs. "Strasbourg" saw little activity during this period, as the armistice with Germany limited training operations. "Dunkerque" was still in drydock when the Germans launched Case Anton, occupying the rest of France in November 1942. To prevent the Germans from seizing the ships, the French Navy scuttled the fleet in Toulon. Both ships were badly damaged and were handed over to Italian control, where they were partially broken up. Their hulks, which were bombed by American aircraft in 1944, were eventually sold for scrap in the 1950s.


title: Dunkerque-class battleship

text: Wary of another naval arms race similar to the Anglo-German race that was seen as contributing to the start of World War I, the world's major navies held the Washington Naval Conference in 1921 to discuss controls on battleship construction, both to limit their size and armament but also to limit the number of ships that could be built. The resulting Washington Naval Treaty limited the French Navy to of total battleship tonnage; French resistance to a halt on battleship construction, in light of the obsolescent and "Bretagne"-class battleships that formed the core of its fleet, led to an exception for France (and Italy) to replace worth of battleships during the moratorium, to be laid down in 1927 and 1929. Maximum displacement of any new battleship was restricted to at standard displacement.


title: Dunkerque-class battleship

text: In 1926, the Chief of the Naval General Staff, Admiral Henri Salaun, requested a new capital ship design with a displacement of , intended to counter the new generation of Italian heavy cruisers. The first of these Italian vessels, the two s, were fast and posed a considerable threat to French shipping in the western Mediterranean between metropolitan France and its colonies in French North Africa. The new French vessel would be armed with a battery of eight guns mounted in two quadruple gun turrets, both arranged forward, since the French envisioned using the ships to chase down the Italian cruisers. The ships would have been armoured to resist the guns of the Italian cruisers, and since the guns were concentrated forward, the amount of armour necessary to protect the ship's vitals allowed significant savings in weight. For the prescribed displacement, four such vessels could be built in the allotted 70,000 tons. The concept was strongly influenced by the British s, which mounted their battery entirely forward to save armour weight.


title: Dunkerque-class battleship

text: The German s, which were armed with a battery of six 283 mm guns, coupled with hesitance on the French Navy's part to commit to small capital ships while Italy still kept its allotted tonnage uncommitted led the French to abandon the 17,500-ton project. New design studies were prepared in 1926–1927, resulting in several proposals in 1928 for a design. These ships were in most respects an enlarged version of the of heavy cruisers then being built. The increase in displacement brought with it a third quadruple 305 mm turret placed aft and heavier armour protection in a version capable of , while a slower ship was to be armed with six guns in twin turrets. Shortages of funding, both for the ships themselves and the necessary improvements to shipyards and harbour facilities to build and operate the vessels ended the proposals. Additionally, political concerns, particularly French efforts to lead disarmament talks in the League of Nations, convinced the French government to delay the construction of any new battleships.


title: Dunkerque-class battleship

text: Design studies continued after the London Naval Treaty, where the British had unsuccessfully pushed for reductions in the maximum displacement and gun calibre. As a show of support for the British position, the French naval command requested designs with a maximum displacement of —the ceiling sought by the British—and a minimum —the maximum displacement that would allow three new ships to be built using the allotted 70,000 tons that France still had available. Apart from the increased size and thicker belt armour, the proposed ship carried the same main battery as the 17,500-ton ship. By this time, Germany had finally begun building the first of the "Deutschland"s; this led to renewed concerns over the level of armour protection, which was still too thin to defeat the German 283 mm gun. After pressure from the French parliament over the perceived weakness of the design, the Chief of the Naval Staff issued a new set of requirements, including an increase in standard displacement to , an armament of eight 330 mm guns, and armour sufficient to resist 283 mm projectiles.


title: Dunkerque-class battleship

text: As refining work on the design progressed, it became apparent that the 25,000-ton standard displacement was too low to accommodate the requested characteristics, so it was increased first to and finally to . Work on the project was completed by early 1932 and it was formally approved on 27 April. The improved armour layout not only rendered the ships immune to 283 mm fire at expected battle ranges, but it was also capable of defeating the 305 mm guns of the older Italian battleships still in service. The first ship, to be named "Dunkerque", was ordered on 26 October 1932, with a second projected for the 1934 programme. The Italian announcement in May 1934 that they would begin building new 35,000-ton battleships armed with guns threatened to throw French plans into disarray, since these ships would be vastly superior to the "Dunkerque" design, but the first French ship had already been laid down and it was too late to redesign the second vessel, "Strasbourg", in response. Side armour for the second ship would be slightly increased while design work began immediately on a 35,000-ton counter to the Italian ships, which produced the .


title: Dunkerque-class battleship

text: The "Dunkerque"-class ships' relatively small size and light armament and emphasis on speed rather than protection, especially compared to the other treaty battleships of the period, has led some to classify them as battlecruisers.


title: Dunkerque-class battleship

text: The two ships differed slightly in their dimensions; both were long between perpendiculars, while "Dunkerque" was long overall while "Strasbourg" was overall. The two ships both had a beam of . "Dunkerque" displaced standard, normally, and fully loaded. "Strasbourg" was slightly heavier, at standard, normally, and at full load, with the difference being the result of increased armour protection. Draft for "Dunkerque" measured normally and increased to at full load, and "Strasbourg" drew at normal loading and at full load.


title: Dunkerque-class battleship

text: "Dunkerque" had a crew of 81 officers and 1,300 sailors, while "Strasbourg"s crew consisted of 32 officers and 1,270 sailors, the additional crew aboard "Dunkerque" being an admiral's staff, as she typically operated as a flagship. Each vessel carried a number of smaller boats, including a variety of motor pinnaces, whaleboats, launches, and dinghies. Steering was controlled by a single rudder; the rudder had a range of train from 0 to 32 degrees from the centreline, but had a tendency to jam when turned further than 25 degrees. The rudder was electrically operated, but the ships also had manual controls in the event of a power failure.


title: Dunkerque-class battleship

text: The ships carried three Loire 130 seaplanes for use as reconnaissance and spotter aircraft on the fantail, and the aircraft facilities consisted of a steam catapult, a hangar, and a crane to handle the floatplanes. The hangar had two storeys and an internal elevator and included workshops to maintain the aircraft while underway. The crane could be folded flat across the deck while not in use.


title: Dunkerque-class battleship

text: The ships were powered by four sets of Parsons geared steam turbines driving four 3-bladed screws for "Dunkerque" and 4-bladed screws for "Strasbourg". Steam was provided by six oil-fired water-tube boilers, ducted into a single large funnel. The "Dunkerque"s adopted the unit system of machinery for their propulsion system, which split the machinery into two separate systems. The arrangement offered improved damage resistance, since one system could be disabled due to battle damage and the other could remain in operation. The ships' boilers were arranged in side-by-side pairs in three boiler rooms; the first was placed below the command tower and the other two were placed below the funnel. The turbines were divided between two engine rooms; the first contained the outer shafts and was placed between the boiler rooms, and the inner turbines were placed in an engine room aft of the rear boiler room.


title: Dunkerque-class battleship

text: The ships were rated for a top speed of from as designed. On speed tests, "Dunkerque" reached a maximum of from , while "Strasbourg" made from . Fuel oil storage amounted to in peacetime but it was reduced to in wartime to prevent the weight of fuel from reducing the armoured freeboard. At a cruising speed of under wartime fuel conditions, the ships had a range of , and at , their cruising radius fell to . The ships' electrical systems were powered by four turbo generators, with two per engine room, with backup power for critical systems provided by two diesel generators located below the tower. For use while in port, three diesel generators were fitted, and these were located in a separate room below the ammunition magazines for the main battery.


title: Dunkerque-class battleship

text: Both ships were armed with eight 330 mm 50-caliber (cal.) guns arranged in two quadruple gun turrets, both of which were placed in a superfiring pair forward of the superstructure. Saint Chamond designed the turrets, which allowed for a maximum elevation to 35 degrees for a maximum range of and depression to -5 degrees. The guns were carried in individual cradles that allowed for limited independent operation, and the guns could be loaded at any angle, though the crews typically returned them to 15 degrees to reduce the likelihood of the shells becoming jammed, a problem that could occur when the guns were at high angles of elevation and other guns in the same turret were fired. To reduce the risk of a single shell hit disabling all four guns, the turrets were divided by an internal bulkhead, and they were spaced apart. The guns fired a shell at a muzzle velocity of ; the shells featured a relatively large bursting charge for their size, reflective of the fact that the "Dunkerque"s were intended to fight the relatively lightly-armoured "Deutschland"s. Ammunition storage amounted to 456 shells for the forward turret and 440 shells for the superfiring turret. Their rate of fire was between 1.5 and 2 shots per gun per minute.


title: Dunkerque-class battleship

text: The ships' secondary armament consisted of sixteen 45-cal. dual-purpose guns; these were mounted in three quadruple and two twin turrets. The quadruple turrets were placed on the stern, with one on the centreline on the superstructure and the other two on either side on the upper deck, and the twin turrets were located amidships, just forward of the funnel. They were the first dual-purpose guns of the French Navy. The guns had range of elevation from -10 to 75 degrees; at 45 degrees, their maximum range was . Their rate of fire was 10 to 12 shells per minute. They were supplied with both armour-piercing (AP) shells for use against warships and high-explosive (HE) shells for use against aircraft. Each gun was allocated approximately 400 shells, a third of which were the AP shells, with the remainder being HE and star shells.


title: Dunkerque-class battleship

text: Close-range antiaircraft defence was provided by a battery of ten guns in twin mounts for "Dunkerque" and eight such guns for "Strasbourg", along with thirty-two machine guns in quadruple mounts for "Dunkerque" and thirty-six guns for "Strasbourg". Two of the 37 mm mounts were placed abreast of the superfiring turret, with the remaining three on the aft superstructure one of which was on the centreline; "Strasbourg" omitted the centreline mount, receiving instead another quadruple 13.2 mm gun in its place. Two of the 13.2 mm mounts were located on the upper deck on either side of the command tower, four were arranged around the upper deck further aft, and the remaining two were placed on the aft superstructure.


title: Dunkerque-class battleship

text: The ships were the first French battleships designed with fire-control directors. The ships carried five directors that each had a stereoscopic rangefinder for the main and secondary batteries. For the main guns, one director with a rangefinder was mounted on the tower and a second with an rangefinder on the aft superstructure. Atop the forward director were a pair of directors for the secondary guns, the first with a rangefinder and the top unit with a rangefinder. A third director for the secondary battery was mounted on the roof of the aft main director, also with a 6 m rangefinder. Both main-battery turrets were fitted with their own 12 m rangefinders and the secondary quadruple turrets received 6 m rangefinders for local control in the event the directors were disabled. Fire control equipment for the anti-aircraft battery consisted of four rangefinders, two forward on the tower and two on the aft superstructure. The directors were used to gather range, bearing, and inclination data, which was then sent to a central control station below the armour decks; there, plotting tables and analog computers were used to calculate firing solutions for the guns. The guns were remotely controlled via electric motors, but the system proved to be problematic in service, as the training and elevation gears were unreliable, the system that communicated commands from the directors to the guns frequently did not work, and the gunners needed to revert to manual control to make small adjustments. The ships' systems were modified in an attempt to correct these problems, but they never worked reliably.


title: Dunkerque-class battleship

text: The ships' protection scheme incorporated the all or nothing principle. Their belt armour was thick amidships for "Dunkerque" and for "Strasbourg", backed by of teak for both ships, extending from the forward 330 mm magazine to the aft 130 mm magazine. The belt was capped on either end by transverse armoured bulkheads; the forward bulkheads were for "Dunkerque" and for "Strasbourg", and the aft bulkheads were and 210 mm, respectively. It was inclined 11.3 degrees from the vertical to improve its resistance to plunging fire. The belt extended from about above the waterline and below. The armoured box created by the belt and bulkheads was covered by two armour decks, the first of these connected to the top of the belt and was over the forward magazines and reduced to over the propulsion machinery and aft magazines, backed by a steel deck. The lower deck was thick, with sloping sides that connected to the lower edge of the belt; for "Strasbourg", the sloped sides were increased to . Aft of the central citadel, the stern was protected by a deck with sloped sides, and additional 50 mm plates covered that portion of the deck that protected the steering gear.


title: Dunkerque-class battleship

text: The main-battery turrets were protected by 330 mm of armour plate on the faces, on the sides, and on the roofs, while "Strasbourg" received slightly better protection, with faces and roofs. Their rear plates varied between the turrets and between the ships, and were heavy to balance the weight of the guns. For "Dunkerque", her forward turret had a rear plate and her superfiring turret had a rear; "Strasbourg" had and plates, respectively. The turrets sat atop armoured barbettes that were for "Dunkerque" and for "Strasbourg"; both were reduced to 50 mm below the upper deck. Both ships' secondary turrets had faces, sides and roofs, and rears, atop barbettes. The conning tower had thick sides, reduced to on its rear and on the roof. The tower received light protection against aircraft strafing attacks in the form of plating, while the fire-control directors were protected with steel.


title: Dunkerque-class battleship

text: Defence against underwater attacks—torpedoes and naval mines—came in the form of layered torpedo bulkheads that incorporated liquid-filled voids to absorb blast effects. In addition, a rubber-based compound referred to as "ébonite mousse" was used to help absorb the impact and control flooding in critical areas. The underwater protection system covered the same area of the hull as the belt armour. The system included three bulkheads, the first of which was thick, followed by a 10 mm bulkhead, and backed by the main torpedo bulkhead, which was thick. Where it protected the machinery spaces, the system had a depth of almost , compared to the depth of contemporary foreign ships, which was typically around . Where the system had to be narrowed, abreast the forward and aft magazines, the main bulkhead increased in thickness to 40 and then 50 mm to account for the reduction in effectiveness. To prevent the explosion of a mine below the hull from breaching the ammunition magazines, the bottoms of the magazines were raised above the double bottom, and they were protected by 30 mm plates.


title: Dunkerque-class battleship

text: The ships received relatively minor modifications in their short careers; both ships received a funnel cap to reduce smoke interference with the command tower in 1938. After the start of World War II, the 12 m rangefinder for the forward main battery director was replaced with a version aboard "Dunkerque", while "Strasbourg" did not receive an updated rangefinder. A degaussing cable was fitted to "Strasbourg" to reduce the risk of detonating German magnetic mines during a refit from November 1939 to January 1940, and during another refit in August–September, a steel screen was erected to protect the light anti-aircraft guns from strafing attacks. "Strasbourg" had her command tower modified in November and December 1940 to refit her for use as a flagship, as "Dunkerque" had been disabled by that point. While "Dunkerque" was under repair at Toulon in 1942, consideration was given to replacing her aviation facilities with additional 37 mm guns to improve her anti-aircraft defences, but this work was not begun before the fleet was scuttled in November. During another refit from January to April 1942, "Strasbourg"s forward 37 mm mounts were moved from her forecastle to the weather deck, as they were on "Dunkerque", and she received an air-search radar set with four antennae. Early tests with the set indicated a detection range of .


title: Dunkerque-class battleship

text: After commissioning in 1936, "Dunkerque" required extensive testing and evaluation, including extensive trials with her guns, as both the main and secondary battery mounts were new to French naval service. During this period, in May 1937, she represented France at the Naval Review for the coronation of King George VI and Queen Elizabeth. In early 1938, "Dunkerque" toured France's West African colonies and islands in the Caribbean. After finally being pronounced ready for active service in September, she became the flagship of the Atlantic Squadron. Shortly thereafter, "Strasbourg" was commissioned to begin working up, but the increasingly unstable international situation in Europe forced the French to rush the ship through trials; "Strasbourg" got little more than six months of testing and training before entering service, compared to more than two years for "Dunkerque".


title: Dunkerque-class battleship

text: During the Sudetenland Crisis with Germany in early April 1939, "Dunkerque" was sent to cover the return of the training cruiser as it returned from a cruise in the Caribbean, as a nearby German squadron would have threatened the vessel if war had broken out. "Strasbourg" then joined the squadron and the two ships were designated the 1st Battle Division. The ships visited Portugal in May before embarking on a lengthy tour of Britain later that month and in June. Both vessels conducted extensive training exercises off Brittany in July and August as Europe drifted toward war. As tensions rose with Germany over the latter's aggressive demands on Polish territory, the British and French naval commands agreed to divide responsibilities for joint operations in the anticipated war; France would cover Allied shipping in the central Atlantic, and for this purpose, "Dunkerque" and "Strasbourg" were assigned to the new "Force de Raid" (Raiding Force) to hunt down German commerce raiders.


title: Dunkerque-class battleship

text: With the outbreak of war in early September, the "Force de Raid", under the command of "Vice-amiral d'Escadre" (Squadron Vice Admiral) Marcel-Bruno Gensoul, went to sea when reports indicated that the German "Deutschland"-class cruisers had sortied to attack Allied shipping. The German raiders were still in the North Sea, however, and so after meeting a French passenger liner, the "Force de Raid" returned to port. The unit was then split to increase the chances of finding the German cruisers, with "Dunkerque" operating out of Brest, France, with the aircraft carrier while "Strasbourg" moved south to Dakar in French West Africa in company with the British carrier . In November, "Dunkerque" joined the battlecruiser to hunt for the German battleships and , but they were unable to locate the German vessels.


title: Dunkerque-class battleship

text: In late November, "Strasbourg" was recalled from Dakar and the "Force de Raid" was reconstituted. "Dunkerque" carried a shipment of part of the Banque de France's gold reserve to Canada and then escorted a troop ship convoy to Britain in December. The ships were sent to the Mediterranean in early 1940 as the threat of war with Italy increased; the French hoped to use the show of force to deter Italy from entering the war. Consideration was given to sending them to support the Norwegian Campaign in April 1940, but Italy's increasingly hostile posture forced the French to keep them in the Mediterranean. Based in Mers-el-Kébir along with other elements of the French fleet, the ships saw little activity during the Battle of France that ended with French defeat; the Armistice mandated that the French fleet would be demilitarised, with "Dunkerque" and "Strasbourg" to remain in Mers-el-Kébir.


title: Dunkerque-class battleship

text: The British government, incorrectly fearing that the Germans intended to seize the French fleet and employ it against Britain, embarked on a campaign to neutralise the vessels. The British Force H, which included "Hood" and the battleships and , was sent to either compel the French vessels at Mers-el-Kébir to join the Free French Forces, be demilitarised in France's Caribbean colonies or the United States, or to sink them. After Gensoul rejected their demands, the British opened fire. The French ships were moored with their sterns toward the sea, which initially prevented "Dunkerque" and "Strasbourg" from returning fire until they could get underway. The guns of the British ships quickly inflicted serious damage on "Dunkerque" and the old battleships and . "Dunkerque"s crew was forced to beach her to prevent her from sinking; "Bretagne" exploded and "Provence" sank to the harbour bottom. "Strasbourg", however, was able to slip her moorings and escape from the harbour in the confusion. Escorted by four destroyers, she avoided the British fleet and escaped to Toulon.


title: Dunkerque-class battleship

text: Repair work began almost immediately on "Dunkerque", with a view toward restoring the ship to seaworthy condition so she could be returned to Toulon for drydocking and permanent repairs. Upon learning that the ship had not been permanently disabled, the British returned and launched an air strike from the carrier , for which Gensoul and "Dunkerque"s commanders had failed to erect defences, either in the form of torpedo nets or manned anti-aircraft guns. The Fairey Swordfish torpedo bombers failed to score any direct hits on "Dunkerque", but a pair of torpedoes struck the patrol boat "Terre-Neuve" that had been moored alongside the ship. Those hits led to a secondary explosion of that vessel's depth charges that amounted to an equivalent of eight aerial torpedoes, which caused extensive damage to "Dunkerque"s hull. Nevertheless, repair work quickly resumed, and her holed hull was plated over and pumped dry.


title: Dunkerque-class battleship

text: In the meantime, "Strasbourg" became the flagship of the "Forces de haute mer", which was created from the remains of the French fleet still available in Toulon, under the command of "Amiral" Jean de Laborde. During this period, limitations on French naval activity from the armistice kept "Strasbourg" largely in port, limited to two training cruises per month. In September 1940, the ship and several cruisers sortied to cover "Provence", which had been repaired and refloated after the attack on Mers-el-Kébir, as she returned to Toulon.


title: Dunkerque-class battleship

text: By April 1941, "Dunkerque" was back in a seaworthy condition, though tests of her propulsion system were necessary before she would be able to get underway. Heavy fighting between British and Italian forces during the Mediterranean Campaign delayed "Dunkerque"s return to France until February 1942. Escorted by five destroyers and some 65 aircraft, she arrived in Toulon on 20 February and was later drydocked there in June to begin repairs.


title: Dunkerque-class battleship

text: Following Operation Torch, the Allied invasion of French North Africa on 8 November, Germany launched Case Anton in retaliation, moving to seize all of the so-called "Zone libre", the part of Vichy France that had up to that point remained unoccupied. Expecting the Germans to arrive to commandeer the ships, de Laborde ordered his crews to prepare to scuttle their ships. When the Germans arrived in Toulon on 27 November, the work had been completed and de Laborde issued the order. Sabotage teams went through the ships, destroying any equipment that might be usable by the Germans, including rangefinders, gyrocompasses, and radios. They lit fires in the boilers and shut off the water supply so that the boilers would overheat and explode, and they packed gun barrels with explosives. "Strasbourg"s crew then opened the seacocks and detonated scuttling charges to ensure the ship sank. "Dunkerque" was at that time still incomplete in the drydock, so she was set on fire, damaged by demolition charges, and then flooded in the drydock when the locks were opened.


title: Dunkerque-class battleship

text: Italy received control over most of the wrecks, as Germany had little interest; the Italian fleet sought as many vessels as possible, but "Dunkerque" and "Strasbourg" were too badly damaged to be repaired quickly, and so they wrote them off as a total loss. To prevent the French from repairing them in the future, the Italians inflicted further damage on the wrecks, including cutting their main-battery guns. They then began breaking up both vessels, but after the Italian surrender in September 1943, the Germans reasserted control over the port. The Germans then turned "Strasbourg" back to Vichy control, who placed the ship in a state of conservation in the Bay of Lazaret, hoping to repair the ship after the war. She was then bombed and sunk again by American aircraft after Operation Dragoon, the Allied invasion of southern France. "Dunkerque" was also bombed several times in the final years of the war.


title: Dunkerque-class battleship

text: After falling under Free French control in October 1944, "Strasbourg" was raised again but by that point was beyond repairing. Instead, she was retained as a target for underwater weapons tests. Little else was done with either wreck for more than a decade; in March 1955, "Strasbourg" was condemned and renamed "Q45" before being sold for scrap in May. "Dunkerque" became "Q56" in September but remained extant until September 1958, when she, too, was sold to ship breakers.


title: Need You Now (Lady Antebellum song)

text: "Need You Now" is a song recorded by American country music trio Lady A (known at the time as "Lady Antebellum"). The band co-wrote the song with Josh Kear, and produced it with Paul Worley. It serves as the lead-off single and title track to their second studio album of the same name, and was first released in the US on August 11, 2009, and it features lead vocals from both Scott and Kelley. The song also served as their debut single in the UK and Europe, where it was released May 3, 2010. It won four Grammy Awards in 2011, including for Song of the Year and Record of the Year, the only country song to win both honors since "Not Ready to Make Nice" by the Dixie Chicks won in 2006.


title: Need You Now (Lady Antebellum song)

text: The song spent five weeks at No. 1 on the "Billboard" Hot Country Songs chart in late 2009. Thereafter, "Need You Now" crossed over onto various pop and adult contemporary music charts, becoming a top five hit in Canada, Ireland, and New Zealand, as well as a top ten hit in the Netherlands and Norway. The song won Single of the Year and Song of the Year at the 2010 Academy of Country Music Awards, as well as Group Video of the Year at the 2010 CMT Music Awards. For the chart week of November 30, 2010, the song became the group's highest-charting single on the "Billboard" Hot 100, reaching No. 2, the best position for a country song by a band on that chart since Lonestar's "Amazed" topped the tally at the beginning of the decade. The single has been certified nine times platinum by the Recording Industry Association of America (RIAA). It's the band's only song to crack the "Billboard" Decade End, doing so at number 68.


title: Need You Now (Lady Antebellum song)

text: A music video was shot for the song, directed by Dave McClister. In the video the song has an extended piano intro, and features all members of the group acting out scenes related to the storyline. The song was initially released only to the country radio format in the United States and Canada on August 24, 2009, but was remixed and re-released to all other formats domestically and internationally at the beginning of 2010. The song gained prominence internationally, in Europe and South America. The trio re-recorded the song again in Simlish to accompany the release of the "Sims 3" expansion pack "". By April 17, 2011, the song became the ninth most downloaded song in history, moving five million copies, and surpassed Taylor Swift's "Love Story" as the most downloaded country song in history. It has since sold over 6 million copies in the US.


title: Need You Now (Lady Antebellum song)

text: The song was used in television series such as "Hellcats" and "The Glades". "Need You Now" has also been covered by several artists, including Adele with Darius Rucker, Boyce Avenue and Glee Cast. "Weird Al" Yankovic included the chorus in "Polka Face", the polka medley from his 2011 album "Alpocalypse".


title: Need You Now (Lady Antebellum song)

text: The lyrics describe placing a call to someone in the middle of the night due to being lonely and longing for companionship. Hillary Scott commented on the song, saying that "All three of us know what it's like to get to that point where you feel lonely enough that you make a late-night phone call that you very well could regret the next day." Charles Kelley told "The Boot" that the band's record executives initially had concerns regarding using the lyrics ""I'm a little drunk"", but he convinced the executives to leave the content in the song.


title: Need You Now (Lady Antebellum song)

text: "Need You Now" has received critical acclaim from music critics and is considered one of the best country songs of the 2000s. It won the 2011 Grammy award for Record of the Year and Song of the Year. The song received a "thumbs up" review from Jim Malec of the 9513. He said that although Charles Kelley's voice had a "surprisingly stuffy tone," lead singer Hillary Scott's voice fit perfectly for "dark" songs like "Need You Now." He said that both singers had a rawness in their voices that made the song feel "real". It also received a positive review from Ken Tucker of "Billboard", who said, "the song finds alto Scott trading lead vocals with a soulful Kelley, and it will connect with anyone who's ever dumped a significant other and regretted it in the early morning hours." Bobby Peacock of "Roughstock" gave a positive review as well, comparing its sound favorably to that of "I Run to You." He also thought the traded-off lead vocals gave the song "more depth," and that Kelley and Scott sang more strongly than on the debut album.


title: Need You Now (Lady Antebellum song)

text: Critics in Europe and North America have pointed to similarities between "Need You Now" and "Eye in the Sky" by The Alan Parsons Project.


title: Need You Now (Lady Antebellum song)

text: The song became the trio's second number one hit on the Hot Country Songs chart dated November 28, 2009, where it stayed for five weeks, making it the first song to hold the number one position for more than four weeks since Taylor Swift's "Our Song" spent six weeks at number one between December 2007 and January 2008. In the "Billboard" Hot 100 chart, the song peaked at number two and stayed there for two weeks, making it their highest-charting single on that chart and their first Top 5. The song also peaked at No. 2 on the Canadian Hot 100, making it their highest-charting and first Top 5 single there as well. "Need You Now" is only the second country song to reach number one on the "Billboard" Adult Top 40 chart, the first being Faith Hill's "Breathe", which reached that same position in 2000. For the "Billboard" tracking period of March 29 – April 4, 2010, "Need You Now" broke the record held by Hoobastank's hit "The Reason" for most spins in one week on the Adult Top 40 chart. The song debuted at No. 28 on the UK Singles Chart in its first week of release. It was covered in a live performance for Queen Elizabeth II's Diamond Jubilee Concert in June 2012 by English singers Gary Barlow and Cheryl Cole which saw the song re-enter the UK Charts. Over a month later it climbed to No. 15, its highest UK chart position and after 53 weeks in the chart.


title: Need You Now (Lady Antebellum song)

text: On December 9, 2010, the song was named the No. 2 Hot 100 song of the year by "Billboard", behind "Tik Tok" by Kesha, marking the highest position a country song has ever reached since Faith Hill's "Breathe" was ranked No. 1 in the year-end chart of the year 2000.


title: Need You Now (Lady Antebellum song)

text: In April 2011, "Need You Now" replaced Taylor Swift's "Love Story" as the best-selling country song of all time in the U.S. It is also the second country song to sell over 5 million digital copies (after Swift's "Love Story"). It has sold over 6 million copies by January 2013, the first country song to do so. As of June 2016, it had sold 6.7 million units in the U.S.


title: Need You Now (Lady Antebellum song)

text: Due to the band winning four Grammys, "Need You Now" debuted at No. 32 on the German Singles Chart in February 2011, 10 months after the digital release of the single. Before that happened, the song did not sell enough to enter the chart.


title: Need You Now (Lady Antebellum song)

text: The video features all three members of Lady Antebellum acting out scenes pertaining to the storyline. It begins in a hallway of a hotel where Kelley is sitting against a wall and Scott is in her room, with Haywood playing the piano. Kelley goes to a cafe and has a coffee, where Haywood arrives with his love interest. Scott then leaves her room and hails a taxi. Kelley leaves the cafe and goes outside to walk to a costume ball, to which Scott is also traveling. When they arrive at the ball, they both see their love interests wearing masks and embrace them. Haywood soon arrives at the ball with his love interest. The video ends with all three members embracing their love interests. The video was filmed at the King Edward Hotel in Toronto, Ontario.


title: Need You Now (Lady Antebellum song)

text: Of the changes between the song and its music video, one of the most noted is Kelley drinking coffee instead of whiskey, since the song states the character is intoxicated. In response, McClister admitted he simply did not want the video to be a literal adaptation of the song, as he felt sitting in a diner in the middle of the night was lonelier.


title: Need You Now (Lady Antebellum song)

text: In December 2010, Adele and Darius Rucker performed the song at the CMT Artists of the Year. The song was featured in the 2012 film "Zero Dark Thirty". The song is featured in the first episode of "Hellcats", and it also appeared in episode 12 of "The Glades". "Weird Al" Yankovic included the chorus in "Polka Face", the polka medley from his 2011 album "Alpocalypse". Gary Barlow and Cheryl performed the song at the Diamond Jubilee concert at Buckingham Palace on 4th June 2012.


title: Need You Now (Lady Antebellum song)

text: In 2017, Shane Filan of Westlife included this song on his album Love Always which reached Top 3 in Scottish Albums Chart and Top 5 in UK Albums Chart and Irish Albums Chart. This was released as a promotional single in East Asia (with a new arrangement and a duet with a Filipina bossa nova music artist Sitti), and it charted in iTunes Top Songs in Laos, Philippines, Indonesia, Vietnam, Cambodia, and Malaysia. A version of the song by Filan with Indonesian pop star Anggun was released for the Asia Deluxe Edition of the "Love Always" album in July 2018. Another cover, by Johnny Gioeli and Deen Castronovo featuring Giorgia Colleluori, was released in 2018.