prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Henry Roth and Lewis Mumford are both this nationality?

The following are given passages.
Context 1: Passage 1:
Regional Planning Association of America
The Regional Planning Association of America ("RPAA"), formed by Clarence Stein was an urban reform association developed in 1923   The association was a diverse group of people all with their own talents and skills   The goal of this group was to “connect a diverse group of friends in a critical examination of the city, in the collaborative development and dissemination of ideas, in political action and in city building projects”   Throughout the ten-year span in which the association lasted, five leading members contributed to this goal   Clarence Stein, Benton MacKaye, Lewis Mumford, Charles Harris Whitaker, Alexander Bing, and Henry Wright were the essential backbone of the RPAA  Originally an idea of Clarence Stein’s, through a series of introductions and acquaintances in Washington DC in 1918, the Regional Planning Association began to form 

Founders
Clarence Stein
Clarence Stein attended the Ethical Culture Society’s Workingman’s School, which influenced his interest in the city life and social responsibility through its teaching  Stein was closely influenced by the founder of Ethical Culture, Felix Adler, and teacher, John Lovejoy Elliott, in involvement with movements and committees, such as the Hudson Guild Settlement House and the Progressive Reform movement in New York City at the turn-of-the-century   Therefore, Stein’s enrollment at Workingman’s School proved to be of strong influence on his later interests and achievements   The very principle of the Ethical Culture Society being “that an individual’s growth toward excellence comes from furthering the unlike excellence of others”, exemplifies the basis of Stein’s life achievements through the RPAA 
Stein first met future fellow RPAA members, Henry Wright and Alexander Bing, in Washington (in 1918) through a friend, Charles Whitaker (editor of the JAIA)   In 1920, Stein became the Associate Editor for Community Planning with the Journal of the American Institute of Architects and soon later discovered the idea to create the RPAA including his friends at the JAIA office, including Lewis Mumford, as well as many others  The group included members in various fields of study from architects to union leaders, city officials to writers, and engineers to sociologists  And so, on April 18, 1923, the first official meeting of the Regional Planning Association of America was held   The association began with only a total of eight people present at its first official meeting but it soon grew 

Benton MacKaye
The first major project of the RPAA was that of fellow RPAA member, Benton MacKaye; the Appalachian Trail, a trail which we would refer to today as a greenway, of which he wrote an article in the JAIA two years earlier (“An Appalachian Trail – A Project in Regional Planning”)   The trail was planned to connect a footpath from Maine to Georgia in an attempt to “lead civilization to the wilderness”   The project was not directly implemented by the RPAA, however, their part was successful in introducing their idea to others and helping the various groups of Mountain Clubs come together to create the final project   The majority of the trail was completed by the mid-1930s   From this project came another main goal of the RPAA which was to create “the preservation of large areas of the natural environment, including parts of the wilderness, as a green matrix for shaping a “regional city” and for serving its various-sized, spatially well defined, specialized communities” 

Lewis Mumford
The success in publicizing this project as well as others was in large part due to Lewis Mumford   Mumford was the RPAA’s leading journalist and spokesperson   Having published his first book in 1922, The Story of Utopia, and well on his way with another, Mumford was extremely useful to the association  He worked on not only books and articles related to the RPAA but also wrote/edited policy documents   Mumford also contributed to the group by sharing his interest of Patrick Geddes’ ideas on regional development and planning   Mumford contributed concepts of “a dispersed yet concentrated urban culture integrated with nature” which were integrated along with MacKaye’s concepts into the RPAA’s later projects 

Sunnyside and Radburn
The leading community building experiments conceptualized and implemented by the RPAA were Sunnyside Gardens, Queens and Radburn, New Jersey   Sunnyside started as a small-scale housing development experiment in Queens, New York   The goal was “to produce good homes at as low a price as possible, to make the company’s investment safe, and to use the work of building and selling houses as a laboratory to work out better house and block plans and better methods of building”   Radburn, New Jersey, would be the new and improved built community utilizing the analysis from the Sunnyside community experiment 

through not only his own real estate company and wealth but through his outstanding real estate and business skills   Bing, president of the RPAA, found the funds through outside contributions and personal contribution (more so than any other member) to support the projects of the association   For the Sunnyside community project Bing founded the City Housing Corporation through which he would establish the funding and opportunity to complete the project 

Henry Wright
Henry Wright, known as the analyst due to his never-ending questioning and analysis on projects, worked alongside Stein in site designs and development on such projects as Sunnyside, New York   Studied architecture at the University of Pennsylvania along with work as a landscape architect and site planner, Wright shared many interests with Stein   Close work in 1923 on the Sunnyside Homes development with Stein led to a trip to England in 1924 to study the designs of Unwin and Parker as well as that of Ebeneezer Howard   Though close at the beginning of the association’s organization, Wright went on to establish “The Housing Study Guild” along with several RPAA members which Stein viewed to work more independently than directly with the RPAA’s projects   This slight dispute would be the beginning point of the division and end of the Regional Planning Association of America   In 1933, many members began to move away and/or join various other movements or committees which quickly led to the association's end 

Legacy
The Regional Planning Association of America, led by Clarence Stein, Benton MacKaye, Lewis Mumford, Alexander Bing, Henry Wright, as well as many others started simply as a group of people with similar interests wanting to make a difference in the American towns and cities  Through the collaboration of these five, Clarence Stein – the organizer and manager, Benton MacKaye – the conservationist, Lewis Mumford – the writer, Alexander Bing – the developer-builder, and Henry Wright – the analyst, as well as the many other members, the RPAA conceptualized, experimented, and changed our view of American towns, cities, architecture, and planning in America 
Passage 2:
Lewis Mumford House
The Lewis Mumford House is located on Leedsville Road (Dutchess County Route 2) in the Town of Amenia, New York, United States  It is a white Federal style building dating to the 1830s 
Social philosopher, historian and cultural critic Lewis Mumford and his wife bought the house in the late 1920s, originally using it as a summer house  By the mid-1930s, they decided to make it their permanent residence for a few years  That period extended to more than half a century, the rest of Mumford's life  His experience of living in a rural area informed some of Mumford's thinking about cities and how they should be shaped  In 1999, a few years after his death, the property was  listed on the National Register of Historic Places 

Buildings and grounds
The property listed on the Register consists of two adjoining parcels: a 1 9-acre (7,700 m2) lot with the house and carriage house and a larger 11 7-acre (4 7 ha) open field stretching back to Webutuck Creek  Both are located on the west side of Leedsville Road, a street of large semi-wooded residential lots, most formerly part of larger farms, in the eastern section of Amenia  There is a similar 19th-century farmhouse just across the street  The Mumford property is a half-mile (1 km) south of state highway NY 343 and a similar distance west of the Connecticut state line  The house, carriage house and landscaping on the property are all considered contributing resources to the listing 

House
The main house's east (front) section is a three-bay two-story frame structure on a stone foundation sided in clapboard  It is topped with a side-gabled roof shingled in asphalt, pierced by two brick chimneys at either end  A perpendicular rear wing, similarly sided, is one and a half stories in height, with side entrances and a single-story sunroom added to the rear A single-bay porch with arched pediment and two round columns shelters the main entrance at the northern end of the front facade  All windows have solid wooden shutters  Semicircular windows at the attic level on either side elevation have been boarded in Federal-style crown moldings, pilasters and fielded side panels surround the main entrance  It opens to a small main hall that gives onto a living room with exposed ceiling beams  A study, kitchen and pantry, bathroom and the sunroom complete the first floor  The flooring is wide pine boards  The brick kitchen fireplace has a large mantel and bake oven Two staircases lead up to the second floor  The front one has been opened up to provide more light to the upstairs  The kitchen stair is narrow and steep  The basement has a dirt floor and the original, unfinished stone walls 

Carriage house and landscaping
To the rear of the house, at the end of the driveway, is the former carriage house, modified for use as an automotive garage  It is a single-story post and beam wood pegged structure sided in clapboard with an asphalt-shingled roof  It has a low loft inside, a northern addition to accommodate a car, and three windows on the south side Stone paths lead from the driveway south to the house  They are complemented in the landscaping by mature plantings including ornamental shrubs around the house and curvilinear flower beds in the rear yard  Intersecting paths lead through the woods to the open field in the rear 

History
There is some uncertainty about the age of the house  In his 1982 autobiography Sketches of Life, Mumford gives its construction date as 1837  Research done by New York's State Historic Preservation Office in preparation for the Register nomination found that it might be as much as a decade older Mumford, a mostly self-taught New York City native, and his wife Sophia had lived in Greenwich Village and Sunnyside Gardens in Queens following their 1921 marriage  After the success of Sticks and Stones, his 1924 history of American architecture, critic Joel Elias Spingarn invited him up to his Amenia estate, Troutbeck  The Mumfords spent the summer of 1926 there, and returned in the following years By 1929 they had decided to purchase a property of their own for their summers, and found the house just down the road from Troutbeck  For $2,500 ($43,000 in contemporary dollars), they bought the house and what Mumford later called its "weedy acre"  After seven more summers, the family decided to settle there year-round in 1936, and began adding additional acreage and upgrading the house with electricity and heating to make it livable in wintertime It was a considerable adjustment for the Mumfords, both of whom had up to that point been city dwellers  "There," wrote one scholar three decades later, "the rural life that previously he had only glimpsed became real to him " He took up gardening in earnest, and the Mumfords began landscaping the property, eventually adding paths that opened up vistas across the Webutuck valley to Oblong Mountain on the west  They bought a used 1932 Chevrolet, their first car  Mumford left it to his wife to drive after he nearly crashed it into the maple trees in front of the house on one attempt to learn, and swore never to get behind the wheel again The Mumfords primarily socialized with the Spingarns up the road  They nevertheless appreciated their neighbors' help in lending them tools and garden equipment and watching the house when they were away from it; one large family nearby was extremely helpful with the Mumford children  The experience reinforced Mumford's belief that livable city neighborhoods needed to have "something of the village" in them They told their friends in New York that they initially meant to stay in Amenia for only a few years  But Lewis gradually found the quiet rural environment a good place to write, and it was in the downstairs study that he turned out many of his later major works on the role of cities in civilization and the roots of industrialization  In the early 1940s, after his son Geddes was killed in action during World War II, Mumford recalled his son's childhood in and around the house in Green Memories "We gradually fell in love with our shabby house as a young man might fall in love with a homely girl whose voice and smile were irresistible", Mumford later recalled  "In no sense was this the house of dreams  But over our lifetime it has slowly turned into something better, the house of our realities     [T]his dear house has enfolded and remodeled our family character—exposing our limitations as well as our virtues "Over the rest of their lives, the Mumfords sometimes took residence elsewhere for Lewis's teaching or research positions, up to a year at a time  They always returned to what they called the "Great Good Place"  Mumford's biographer Donald Miller wrote:

In the act of living in this house and making it over it became like a person to them; and like a good friend they grew more fond of it with closer and deeper acquaintance  Every patch garden and lawn, every vista and view, carried the imprint of some of the best hours of their lives 
They made some changes to it, siding the first story in shingles and removing the south chimney  Inside they put bookcases on almost every wall In the 1980s, when Lewis could no longer write due to his advanced age, he retreated to the house  He died there in his bed in 1990, at the age of 94  Sophia followed him seven years later After her death, the house was sold to a local carpenter who decided to restore it to its original appearance and resell it  He removed all the bookcases and the nine layers of linoleum the Mumfords had added to the kitchen floor every time one wore out  Later renovations restored the original siding and chimney In 1999, after being listed on the National Register, the house was again put up for sale with a list price of $375,000  The restorations made it more difficult to sell despite the historic provenance, since it still lacked many amenities sought by contemporary buyers of country houses  It eventually did, and is now an occupied residence again 

See also
National Register of Historic Places listings in Dutchess County, New York
Passage 3:
The City in History
The City in History: Its Origins, Its Transformations, and Its Prospects is a 1961 National Book Award winner by American historian Lewis Mumford 
It was first published by Harcourt, Brace & World (New York) 

Synopsis
Mumford argues for a world not in which technology rules, but rather in which it achieves a balance with nature  His ideal vision is what can be described as an "organic city," where culture is not usurped by technological innovation but rather thrives with it  Mumford contrasts these cities with those constructed around wars, tyrants, poverty, etc  However, the book is not an attack on the city, but rather an evaluation of its growth, how it came to be, and where it is heading, as evidenced by the final chapter "Retrospect and Prospect "
Mumford notes apologetically in his preface that his "method demands personal experience and observation," and that therefore he has "confined [him]self as far as possible to cities and regions [he is] acquainted with at first hand "

Style
Mumford's florid writing style is also "organic" compared to the cold, mechanical style of many history texts   Stylistically, his works are full of metaphors and similes, as well as quotations from famous novelists, giving his prose shades of poetry   He refers to such texts as Great Expectations and Hard Times, sometimes using citations to illustrate to the reader what life was like during the industrial era and the city in which Dickens lived 
Articles have been written on Mumford's use of metaphors and how his works can often be read as "fiction," in the sense that they have narrative flow   That is evident in this book, in which, instead of a human protagonist on which the story centers, we have the city and its growth in a quasi-bildungsroman fashion 

Editions
Hardcover, MJF Books (August 1997) ISBN 978-1-56731-211-9
Paperback, Harvest Books (October 1968) ISBN 978-0-15-618035-1
Passage 4:
Megalopolis
A megalopolis () or a supercity, also called a megaregion, is a group of metropolitan areas which are perceived as a continuous urban area through common systems of transport, economy, resources, ecology, and so on  They are integrated enough that coordinating policy is valuable, although the constituent metropolises keep their individual identities  The megalopolis concept has become highly influential as it introduced a new, larger scale thinking about urban patterns and growth 

Etymology and earlier definitions
The term has specific geographic definitions dating from 1832, when its meaning was "a metropolis," that is, "a very large, heavily populated urban complex" 
In the late 1950s and early 1960s, Jean Gottmann, a professor of political science at the University of Paris and member of the Institute for Advanced Study at Princeton, directed "A Study of Megalopolis" for The Twentieth Century Fund, wherein he described a megalopolis as a "world of ideas"  Gottmann, in his extensive studies, applied the term megalopolis to an analysis of the urbanized northeastern seaboard of the U S , in particular from Boston, Massachusetts to Washington, D C 

Modern definitions
A megalopolis may also be called a megaregion  "Megalopolis" and other similar terms have been used by different scholars and countries to describe similar spatial forms 
A megalopolis, following the work of Gottmann, refers to two or more roughly adjacent metropolitan areas that, through a commonality of systems—e g , of transport, economy, resources, and ecologies—experience a blurring of the boundaries between the population centers, such that while some degree of separation may remain, their perception as a continuous urban area is of value, e g , "to coordinate policy at this expanded scale"  Simply put, a megalopolis (or a megaregion) is a clustered network of big cities  Gottmann defined its population as 25 million, while Doxiadis defined a small megalopolis a similar cluster with a population of about 10 million  America 2050, a program of the Regional Plan Association (RPA), lists 11 megaregions in the United States and Canada 
Megaregions of the United States were explored in a July 2005 report by Robert E  Lang and Dawn Dhavale of the Metropolitan Institute at Virginia Tech  A later 2007 article by Lang and Nelson uses 20 "megapolitan" areas grouped into 10 megaregions  The concept is based on the original "Megalopolis model" Modern interlinked ground transportation corridors, such as rail and highway, often aid in the development of megalopolises  Using these commuter passageways to travel throughout the megalopolis is informally called megaloping, a term coined by Davide Gadren and Stefan Berteau In Brazil, the term megarregião has a legal meaning, different from the English word megaregion: mesoregions of Brazil (mesorregião) and microregions of Brazil (microrregião) 
In China, the official term corresponding to the meaning of "megalopolis" is '城市群' (chéngshì qún), which, in Chinese, was originally coined by Yao Shimou and literally means "city cluster"  A "city cluster" is defined as "[a]n area in which cities are relatively densely distributed in a certain region"  In an older standard, the term was mistranslated as "agglomeration"  In 2019, National Development and Reform Commission (NDRC)  published guidelines and made a distinction from a similar concept "metropolitan area" (都市圈), which is of a smaller scale than a city cluster  In the latest standard terminologies of both economics and urban planning, 城市群 is translated as "city cluster", replacing "agglomeration" 

List of megalopolises
In popular culture
Metropolis
Metropolis is a 1927 German expressionist science-fiction drama film directed by Fritz Lang  Written by Thea von Harbou in collaboration with Lang, it stars Gustav Fröhlich, Alfred Abel, Rudolf Klein-Rogge and Brigitte Helm  Erich Pommer produced it in the Babelsberg Studios for Universum Film A G  (Ufa)  The silent film is regarded as a pioneering science-fiction movie, being among the first feature-length movies of that genre  Filming took place over 17 months in 1925–26 at a cost of over five million Reichsmarks 

Judge Dredd
In the Judge Dredd (1977) comic book series and its spinoff series, Mega-City One is a huge fictional megalopolis-size city-state covering much of what is now the Eastern United States and some of Canada  The exact geography of the city depends on which writer and artist has done which story, but from its first appearance it has been associated with New York City's urban sprawl; originally it was presented as a future New York, which was retconned as the centre of a "Mega-City One" in the very next story  The Architects' Journal placed it at No  1 in their list of "comic book cities" 

Blade Runner
Blade Runner is a 1982 neo-noir science fiction film directed by Ridley Scott, written by Hampton Fancher and David Peoples, and starring Harrison Ford, Rutger Hauer, Sean Young, and Edward James Olmos  It is a loose adaptation of Philip K  Dick's novel Do Androids Dream of Electric Sheep? (1968)  The film is set in a dystopian future Los Angeles of 2019, in which synthetic humans known as replicants are bio-engineered by the powerful Tyrell Corporation to work on off-world colonies  When a fugitive group of replicants led by Roy Batty (Hauer) escapes back to Earth, burnt-out cop Rick Deckard (Ford) reluctantly agrees to hunt them down 

Sprawl trilogy
In William Gibson's Sprawl trilogy, "the Sprawl" is a colloquial name for the "Boston-Atlanta Metropolitan Axis" (BAMA), an urban sprawl environment on a massive scale, and a fictional extension of the real Northeast megalopolis   The Sprawl is a visualization of a future where virtually the entire East Coast of the United States, from Boston to Atlanta, has melded into a single mass of urban sprawl  It has been enclosed in several geodesic domes and merged into one megacity  The city has become a separate world with its own climate, no real night/day cycle, and an artificial sky that is always grey 

Further reading
Hagler, Yoav (November 2009)  "Defining U S  Megaregions" (PDF)  America 2050  Retrieved February 19, 2022 – via RPA org  This work, while dated, is from Associate Planner Yoav Hagler of America 2050, and while not used as a source in this article, is one of the most focused articles available on the American aspects of the title subject  It includes history, methodology, and statistical and other criteria sections, and identifies the U S  megaregions as of its publication date America 2050 Staff (February 19, 2022)  "Megaregions"  America 2050  Archived from the original (homepage) on May 16, 2017  Retrieved February 19, 2022 – via RPA org  Starting point for access to articles from the America 2050 effort, while it was active  Note, an earlier cited article by Matt Taylor, on urban transit issues, appears among the works linked at this home page 

See also
Passage 5:
Critical Mass (book)
Critical Mass: How One Thing Leads to Another, a non-fiction book by English chemist and physicist Philip Ball originally published in 2004, discusses the concept of a "physics of society"  Ball discusses thinkers such as Thomas Hobbes, Lewis Mumford, Emyr Hughes, and Gottfried Achenwall who have attempted to apply (or argue against the use of) physics, chemistry, or mathematics in the study of mass social phenomena  He also discusses how the concept relates to recent research, including his own 

Physics of society
The outlines of Ball's Critical Mass, the most popular of his many noted books, beginning in various circa 2001 lectures, talks, and articles focused on what he calls a 'physics of society', similar to the social physics in the Auguste Comte sense, a subject Ball approaches using statistical mechanics viewing people as atoms or molecules that show characteristic behaviours in bulk  The following is an excerpt of his 2003 talk on the physical modeling of society:
"There seem to be 'laws' [of] social systems that have at least something of the character of natural physical laws, in that they do not yield easily to planned and arbitrary interventions  Over the past several decades, social, economic and political scientists have begun a dialogue with physical and biological scientists to try to discover whether there is truly a 'physics of society', and if so, what its laws and principles are  In particular, they have begun to regard complex modes of human activity as collections of many interacting 'agents' - somewhat analogous to a fluid of interacting atoms or molecules, but within which there is scope for decision-making, learning and adaptation "In his 2004 book, Ball summarizes this to the effect that "to develop a physics of society, we must take a bold step that some might regard as a leap of faith and others as preposterous idealization: particles become people " Nearly as soon as he gives this definition, however, Ball falls back on the two biggest hurdles to this perspective: that of the theories of being alive and of free will, both of which seem to contradict the physics viewpoint 

Other topics
Other topics discussed in the book include the business cycle, random walks, phase transitions, bifurcation theory, traffic flow, Zipf's law, Small world phenomenon, catastrophe theory, the Prisoner's dilemma  The overall theme is one of applying modern mathematical models to social and economic phenomena 

Awards
Critical Mass was the winner of the 2005 Aventis Prize for Science Books and the 2005 Royal Society Winton Prize for Science Books 

See also
Critical mass (sociodynamics)
Psychohistory
Historical materialism
Network economics
Passage 6:
Technics and Civilization
Technics and Civilization is a 1934 book by American philosopher and historian of technology Lewis Mumford   The book presents the history of technology and its role in shaping and being shaped by civilizations   According to Mumford, modern technology has its roots in the Middle Ages rather than in the Industrial Revolution  It is the moral, economic, and political choices we make, not the machines we use, Mumford argues, that have produced a capitalist industrialized machine-oriented economy, whose imperfect fruits serve the majority so imperfectly 

Background
Apart from its significance as a monumental work of scholarship in several disciplines, Mumford explicitly positioned the book as a call-to-action for the human race to consider its options in the face of the threats to its survival posed by possible ecological catastrophe or industrialised warfare  Technics and Civilization is the first book in Mumford's four-volume Renewal of Life series, followed by The Culture of Cities (1938), The Condition of Man (1944), and The Conduct of Life (1951) 

Synopsis
Mumford divides the development of technology into three overlapping phases: eotechnic (Greek, eos meaning "dawn"), paleotechnic and neotechnic The first phase  of technically civilized life (AD 1000 to 1800) begins with the clock, to Mumford the most important basis for the development of capitalism because time thereby becomes fungible (thus transferable)   The clock is the most important prototype for all other machines   He contrasts the development and use of glass, wood, wind and water with the inhumanly horrific work that goes into mining and smelting metal   The use of all of these materials, and the development of science during the eotechnic phase, is based on the abstraction from life of the elements that could be measured   He approves those people, cities and cultures who strove for a harmonious balance between the senses and the freedom from labor provided by science 

The second phase, the paleotechnic (roughly 1700 to 1900), is "an upthrust into barbarism, aided by the very forces and interests which originally had been directed toward the conquest of the environment and the perfection of human nature "  Inventions of the paleotechnic are made by men trying to solve specific problems rather than hunting for general scientific principles; in fact, scientific learning is devalued by men of business   The invention of coal-fired steam powered factories and the installation of capital-intensive machinery leads to a necessarily gigantic round-the-clock scale of production supported by unskilled machine tenders  Labour becomes a commodity, rather than an inalienable set of skills, the labourer who tended machines, lived in slums, and was paid starvation wages, became physically stunted and socially and spiritually stultified   Mumford notes that the death rate of urban slums compares unfavorably to the agricultural worker of the same time period, and furthermore that life in the nineteenth century compares unfavorably to cleanliness and standards of living available to workers in thirteenth century cities   He also identifies iron as the primary building material of the paleotechnic, and skyscrapers, bridges and steamships as première accomplishments of the age   War and mass sport he saw as social releases from mechanized life, and the hysteric duties of wartime production (or even the hysteria of a baseball team's victory) is a natural outgrowth of the tensions and structures of such paleotechnic life 
In describing the neotechnic age (from about 1900 to Mumford's present, 1930), he focuses on the invention of electricity, freeing the factory production line from the restrictions of coal through the addition of small electric motors to individual machines, and freeing the laborer to create small but competitive factories   Mumford presciently notes that a small producer can deliver what is needed when it is needed more efficiently than paleotechnic assembly lines  The neotechnic phase he saw was dominated by men of science, rather than mechanically apt machinists  Rather than pursuing accomplishments on the scale of the trains, it is concerned with the invisible, the rare, the atomic level of change and innovation   Compact and lightweight aluminum is the metal of the neotechnic,  and communication and information—even inflated amounts—he claimed was the coin 


== Notes ==
Passage 7:
Jack Hillmer
Jack Hillmer (1918–2007) was an American architect based in San Francisco, California   An exponent of what Lewis Mumford called the "Bay Region style," Hillmer is known for his meticulously hand-crafted modernist homes built from redwood   Jack Hillmer's most notable projects include the Ludekens house on Belvedere island, the Munger house in Napa, and the Cagliostro house in Berkeley   Architectural writer Alan Hess called Jack Hillmer "one of the most original architects produced by California "

Early life
Hillmer was born and raised in Texas   As a 15-year-old boy, he travelled to Chicago with his mother, a cousin and a friend to visit the 1933 World's Fair   It was there, in the California exhibit, that he encountered the redwood boards that would become a key feature of his later architectural practice:  four-foot by twenty-foot planks displayed under spotlights to highlight one of that state's key products   Several years later Hillmer received a scholarship to the University of Texas, where he enrolled in architecture   After college, Hillmer joined the air force, and was stationed in San Diego   Hillmer used his time-off during the war to explore the new modernist buildings that were being built in southern California, including renting a room in the Pueblo Rivera Apartments by R  M  Schindler, and living for a time at the La Jolla Art Center by Irving Gill   Toward the end of the war, Hillmer visited Frank Lloyd Wright at Taliesen West in Scottsdale, Arizona   Hillmer was invited by Wright to join his Taliesen Fellowship, but Hillmer declined despite his appreciation for Wright's work Hillmer first visited the San Francisco Bay Area in 1945, when he flew up the coast to Hamilton Air Force Base to deliver a new bomber on which he had worked as a draftsman   Hillmer was transferred to Travis Air Force Base in Solano County, California toward the end of the war   After he was discharged, Hillmer decided to remain in the Bay Area, where he opened an architectural office with his friend Warren Callister at 425 Bush Street in San Francisco 

Career
Hillmer and Callister's first commission was the Haines and Betty Hall house in 1947, a house with an abstract geometry built from redwood boards that were reclaimed from a dismantled barn on the property   The house would later be published in Life magazine Shortly after the Hall house was published, Callister and Hillmer dissolved their partnership and set up individual practices   Hillmer's first commission on his own came in 1948 from Fred Ludekens, a successful graphic artist who had purchased a lot on Belvedere Island with views across the Bay to San Francisco   Arguably Hillmer's most successful design, the Ludekens house featured rough redwood walls and airplane wing-like ceilings that soared above the walls of the building, seemingly supported only by glass   Shortly after its completion in 1951, the Ludekens House would be featured in Architectural Forum In the early 1950s, Hillmer was invited to teach as a lecturer at the University of California, Berkeley by the dean of the architecture school, William Wurster, and again in the 1960s by Charles Moore   Several significant commissions followed over the next three decades, including the Milton Munger house in Napa (1950), the Owen Stebbins house in Kent Woodlands (1960), the John and Patti Wright house in Inverness (1962), and the Dominic Cagliostro house in Berkeley (1977) 

Style
Jack Hillmer's style is most closely identified with the Second Bay Tradition period of architecture in the California Bay Area   Hillmer's work is characterized by "bold exterior fascias and interior cornice lines [that] turn the structure into its own ornament   He hones unnecessary details to a minimum; window frames are typically absent; the glass is often embedded directly into the wood structure   This approach is thoroughly Modern   Beauty is drawn from the inherent structure itself rather than from applied carving "Architect Pierluigi Serraino described Hillmer's architecture as "assertive, but it's always benevolent   It's always very delicate in the way it fits onto the site   It's not architecture that wants to scream, but it has its own monumentality "In Hillmer's own words:  "My approach to architecture was as an art   The approach of most other architects is as a business   I never really thought about how much money I was getting "
Passage 8:
Henry Roth
Henry Roth (February 8, 1906 – October 13, 1995) was an American novelist and short story writer who found success later in life after his 1934 novel Call It Sleep was reissued in paperback in 1964 

Biography
Roth was born in Tysmenitz near Stanislawow, Galicia, Austro-Hungary (now known as Tysmenytsia, near Ivano-Frankivsk, Galicia, Ukraine)  Although his parents never agreed on the exact date of his arrival in the United States, it is most likely that he and his mother landed at Ellis Island and began his life in New York in 1908  The family briefly lived in Brooklyn, and then on the Lower East Side, in the slums where his classic novel Call It Sleep is set  In 1914, they moved to Harlem  Roth lived there until 1927, when, as a senior at City College of New York, he moved in with Eda Lou Walton, a poet and New York University instructor who lived on Morton Street in Greenwich Village 
With Walton's support, he began Call It Sleep in about 1930, completed the novel in the spring of 1934, and it was published in December 1934, to mostly good reviews  Yet the New York Herald Tribune's book critic Lewis Gannett foresaw that the book would not prove popular with its bleak depiction of New York's Lower East Side, but wrote readers would "remember it and talk about it and watch excitedly" for Roth's next book  Call It Sleep sold slowly and poorly, and after it was out-of-print, critics writing in magazines such as Commentary and Partisan Review kept praising it, and asking for it to be reprinted  After being republished in hardback in 1960 and paperback in 1964, with more than 1,000,000 copies sold, and many weeks on the New York Times bestseller list, the novel was hailed as an overlooked Depression-era masterpiece and classic novel of immigration  Today, it is widely regarded as a masterpiece of Jewish American literature 
After the book's 1934 publication, Roth began a second novel that was contracted with editor Maxwell Perkins, of Scribner's  But Roth's growing ideological frustration and personal confusion contributed to a profound writer's block, which lasted until 1979, when he began the earliest drafts of Mercy of a Rude Stream (although material written much earlier than 1979 was also incorporated into this later work)  In 1938, during an unproductive sojourn at the artists' colony Yaddo in Saratoga Springs, New York, Roth met Muriel Parker, a pianist and composer; much of this period is depicted in Roth's final work, An American Type  Roth severed his relationship with Walton, moved out of her apartment, and married Parker in 1939, to the disapproval of her family  With the onset of World War II, he became a tool-and-gauge maker  The couple moved first to Boston with their two young sons, Jeremy and Hugh, and then, in 1946, to Maine  There, Roth worked as a woodsman, a schoolteacher, a psychiatric attendant in the state mental hospital, a waterfowl farmer, and a Latin and math tutor 
Arthur Hertzberg credited editor Harold U  Ribalow with "rediscovering" Roth  Ribelow found him on a farm in Maine, persuaded him to permit a new edition of the novel, and wrote an introduction to the new edition, which was published by Pageant Books in 1960   Many years later, after Ribalow had died and Roth was awarded the Ribalow Prize, he wrote to Ribalow's son, Meir Z  Ribalow, "Thanks for the encomia  Things like that keep me alive, I'm sure: what little is left me capable of feeling swells with pride like the staves of an old barrel when filled  Harold, to whom I owe so much, would have been happy to witness the occasion "In fact, Roth did not initially welcome the success of the 1964 reprint of Call It Sleep, valuing his privacy instead  But his writing block slowly began to break  In 1968, after Muriel's retirement from the Maine state school system, the couple moved to a trailer home in Albuquerque, New Mexico, closer to where Roth had stayed as writer-in-residence at the D  H  Lawrence ranch outside of Taos  Muriel began composing music again, while Roth collaborated with his friend and Italian translator Mario Materassi to put out a collection of essays called Shifting Landscape, published by the Jewish Publication Society in 1987  After Muriel's death, in 1990, Roth moved into a ramshackle former funeral parlor and occupied himself with revising the final volumes of his monumental work, Mercy of a Rude Stream  It has been alleged that the incestuous relationships between the protagonist, a sister, and a cousin in Mercy of a Rude Stream are autobiographical  Roth's sister, however, has denied that such events occurred 
Roth failed to garner the acclaim some say he deserves, perhaps because after the publication of Call It Sleep he failed to produce another novel for 60 years  He attributed his massive writer's block to personal problems, such as depression, and to political conflicts, including his disillusionment with Communism  At other times, he cited his early break with Judaism and his obsessive sexual preoccupations as probable causes  Roth died in Albuquerque, New Mexico, in 1995 
The character E  I  Lonoff in Philip Roth's Zuckerman novels (The Ghost Writer and Exit Ghost in this case), is a composite of Roth, Bernard Malamud and fictional elements 

Works and writing
Call It Sleep
Published in 1934, Call It Sleep centers on the turbulent experiences of a young boy, David Schearl, growing up in the Jewish immigrant slum of New York's Lower East Side in the early 20th century 

Mercy of a Rude Stream
Mercy of a Rude Stream is a monumental epic published in four volumes  It follows protagonist Ira Stigman from his family's arrival in Jewish-Irish Harlem in 1914 to the night before Thanksgiving in 1927, when Ira decides to leave the family tenement and move in with Edith Welles   According to critic David Mehegan, Roth's Mercy represents a "landmark of the American literary century" The first volume, A Star Shines over Mt  Morris Park was published in 1994 by St  Martin's Press and the second volume, called A Diving Rock on the Hudson, appeared from St  Martin's in 1995   In A Diving Rock on the Hudson, "Roth writes graphically about the sexual relationship between the protagonist, Ira Stigman, and Stigman's sister, Minnie, as teen-agers  Roth also describes an incestuous relationship between Stigman and his cousin, Stella " Roth's sister "chastise[d] Roth for writing about the 'revelation'" and "threaten[ed] to sue him and St  Martin's Press     Roth and his sister entered into a contract in which he agreed to pay his sister $10,000 in exchange for immunity from legal action  The contract     also stipulated that future volumes of Roth's novel would no longer portray Minnie Stigman 'as having any further sexual relationship with her brother, Ira Stigman '"From Bondage, which appeared in hardcover in 1996, was the first volume of the four Mercy books to appear posthumously  Requiem for Harlem, the fourth and final volume, appeared in 1998   Roth was able to revise both the third and fourth volumes in 1994 and 1995 with the help of his assistant, Felicia Steele, shortly before his death 
Before his death, Roth commented numerous times that Mercy of a Rude Stream comprised six volumes   In fact, Roth did write six separate books  He called the first four "Batch One," and the last two, "Batch Two "  Roth's editor at St  Martin's, Robert Weil, along with Felicia Steele, Larry Fox, and Roth's agent, Roslyn Targ, found the epic would be best served in four volumes, as the four books of "Batch One" contained a stylistic and thematic unity inconsistent with the remaining two books 
Explaining the difference between Mercy of a Rude Stream and Call It Sleep, critic Mario Materassi, Roth's longtime friend, argues that "Call It Sleep can be read as a vehicle through which, soon after breaking away from his family and his tradition, young Roth used some of the fragments of his childhood to shore up the ruins of what he already felt was a disconnected self   Forty-five years later, Roth embarked on another attempt to bring some retrospective order to his life's confusion:  Mercy of a Rude Stream, which he has long called a 'continuum,' can be read as a final, monumental effort on the part of the elderly author to come to terms with the pattern of rupture and discontinuity that has marked his life" Fran Lebowitz, writer and public intellectual, in her Netflix special "Pretend It's a City" speaks about how you can still appreciate the art of an individual separate from his actions 

An American Type
Roth's final novel, An American Type, emerged from "Batch 2," which Roth wrote during the late 1980s and early 1990s  With his assistant's help, Roth produced 1,900 typed pages of scenes beginning where Mercy left off and continuing through 1990   The manuscript of "Batch 2" remained untouched for over a decade until Weil sent it to The New Yorker, which published two excerpts from "Batch 2" in the summer of 2006 under the titles "God the Novelist" and "Freight " At The New Yorker the book came into the hands of Willing Davidson, then a young assistant in the magazine's fiction department  At the suggestion of Weil and Roth's literary executor, Lawrence Fox, Davidson edited "Batch 2" into An American Type, which was published by W W  Norton in 2010 Both a love story and a lamentation, the novel opens in 1938, and reintroduces us to Ira Stigman of the Mercy cycle, a thirty-two-year-old "slum-born Yiddle" eager to assimilate but traumatized by his impoverished immigrant past  Restless with his lover and literary mentor, English professor Edith Welles, Ira journeys to Yaddo, where he meets M (who only appeared in the old man's reveries in the Mercy series), a blond, aristocratic pianist whose "calm, Anglo-Saxon radiance" engages him 
The ensuing romantic crisis, as well as the conflict between his ghetto Jewish roots and the bourgeois comforts of Manhattan, forces Ira to abandon his paramour's Greenwich Village apartment and set out with an illiterate, boorish Communist on a quest for the promise of the American West  But feeling like a total failure in LA, Ira begins an epic journey home, thumbing rides from truckers and riding the rails with hobos through the Dust Bowl  Ira only knows that he must return to M, the woman he truly loves 
Sixty-five pages of excerpts from Batch Two consisting of short journal entries appeared in the journal, Fiction, Number 57, in 2011  The majority of these pages are about Roth's move to Maine, afraid that his associations with the Communist Party would haunt him at his factory job in Massachusetts  Purchasing a small farm, and surrounded by Yankee neighbors, Roth questions his identity as a Jew and struggles to wrest a living out of a Maine countryside where the soil is so hard that he has to dynamite in order to lay pipe deep enough to avoid the winter freezes  The extreme cold that he and his family endured, his work logging, bargaining over antiques and livestock with neighbors, and the world of backwoods and village America form the principal and unlikely drama of these pages  There is also return to the tense, incestuous world of the Roth family in Henry's childhood in the last of these extracts 

Themes
Henry Roth's writing centers on immigrant experience, particularly a Jewish-American experience in Depression-era America  He has also been hailed as a chronicler of New York City life 
Roth's work reveals an obsession with cultural depravity: the internal dislocation of the intellectual and of society at large that features so prominently in the work of the greatest Modernist writers  Indeed, Roth often fixates on human depravity in a multitude of forms  Sexually abhorrent acts such as incest, infidelity, and predation, for instance, inform much of his work, as does a more general climate of violence or abuse, often inflicted on others and masochistically turned inwards 
Throughout his life, Roth simultaneously embraced and rejected the notion of a forgiving God, and this ambivalence is also registered in his writing  Mario Materassi suggests, in "Shifting Urbanscape: Roth's 'Private' New York," that Roth "has never been interested in any story other than the anguished one of a man who, throughout his life, has contradicted each of his previously held positions and beliefs "While Roth's works are generally tragic, and often relentlessly so, his later work holds out for the possibility of redemption, or of mercy in a rude stream  This notion is especially evident in An American Type where the love between Ira and M becomes a means of transcendence 

Awards and honors
Roth received two honorary doctorates, one from the University of New Mexico and one from the Hebrew Union College–Jewish Institute of Religion  He won the 1987 International Nonino Prize in Italy  Posthumously, he was honored in 1995 with the Hadassah Harold Ribalow Lifetime Achievement Award and by the Museum of the City of New York with Manhattan Borough President Ruth Messinger having named February 29, 1996, as "Henry Roth Day" in New York City  From Bondage was cited by the National Book Critics Circle as being a finalist for its Fiction Prize in 1997, and it was in that same year that Henry Roth won the first Isaac Bashevis Singer Prize in Literature for From Bondage, an award put out by The Forward Foundation  In 2005, ten years after Roth's death, the first full biography of his life, the prize-winning Redemption: The Life of Henry Roth, by literary scholar Steven G  Kellman, was published, followed in 2006 by Henry Roth's centenary, which was marked by a literary tribute at the New York Public Library, sponsored by CCNY and organized by Lawrence I  Fox, Roth's literary executor 

Bibliography
Call It Sleep (1934)
"Where My Sympathy Lies," The New Masses, vol  22, no  10 (March 2, 1937), pg  9 —extols and justifies the Moscow Trials 
Nature's First Green (1979)
Shifting Landscape: A Composite, 1925–1987 (1987)
Mercy of a Rude Stream Vol  1: A Star Shines Over Mt  Morris Park (1994)
Mercy of a Rude Stream Vol  2: A Diving Rock on the Hudson (1995)
Mercy of a Rude Stream Vol  3: From Bondage (1996)
Mercy of a Rude Stream Vol  4: Requiem for Harlem (1998)
An American Type (2010)
Passage 9:
Lewis Mumford
Lewis Mumford (19 October 1895 – 26 January 1990) was an American historian, sociologist, philosopher of technology, and literary critic  Particularly noted for his study of cities and urban architecture, he had a broad career as a writer  He made signal contributions to social philosophy, American literary and cultural history, and the history of technology He was influenced by the work of Scottish theorist Sir Patrick Geddes and worked closely with his associate the British sociologist Victor Branford  
Mumford was also a contemporary and friend of Frank Lloyd Wright, Clarence Stein, Frederic Osborn, Edmund N  Bacon, and Vannevar Bush 

Life
Early life and education
Mumford was born in Flushing, Queens, New York, and graduated from Stuyvesant High School in 1912  He studied at the City College of New York and The New School for Social Research, but became ill with tuberculosis and never finished his degree  In 1918 he joined the navy to serve in World War I and was assigned as a radio electrician  He was discharged in 1919 and became associate editor of The Dial, an influential modernist literary journal  He later worked for The New Yorker where he wrote architectural criticism and commentary on urban issues 

First book
Mumford's earliest books in the field of literary criticism have had a lasting influence on contemporary American literary criticism  In The Golden Day (1926), he argued for a mid-19th-century American literary canon comprising Herman Melville, Ralph Waldo Emerson, Henry David Thoreau, Nathaniel Hawthorne and Walt Whitman, all of whom he argued reflected an antebellum American culture of the period that would be destroyed by the late-19th-century social changes wrought by the American Civil War and industrialization of the United States  Herman Melville (1929), which combined an account of Melville's life with an interpretive discussion of his work, was an important part of the Melville revival 

Correspondence
Mumford was a close friend of the psychologist Henry Murray, with whom he corresponded extensively from 1928 until the 1960s on topics including Herman Melville, psychology, American values and culture, and the nature of the self 

Urban planning
In his early writings on life in an urban area, Mumford was optimistic about human abilities and wrote, that the human race would use electricity and mass communication to build a better world for all humankind  
Mumford would later take a more pessimistic stance on the sweeping technological improvements brought by the second industrial revolution  His early architectural criticism also helped to bring wider public recognition to the work of Henry Hobson Richardson, Louis Sullivan and Frank Lloyd Wright 

Honours
Mumford was elected to the American Philosophical Society in 1941 and the American Academy of Arts and Sciences in 1947  In 1963, Mumford received the Frank Jewett Mather Award for art criticism from the College Art Association  Mumford received the Presidential Medal of Freedom in 1964  In 1975 Mumford was made an honorary Knight Commander of the Order of the British Empire (KBE)  In 1976, he was awarded the Prix mondial Cino Del Duca  In 1986, he was awarded the National Medal of Arts 

Further publications
He served as the architectural critic for The New Yorker magazine for over 30 years  His 1961 book, The City in History, received the National Book Award 

Retirement
Lewis Mumford died at the age of 94 at his home in Amenia, New York, on January 26, 1990  Nine years later the house was listed on the National Register of Historic Places  His wife Sophia died in 1997, at age 97 

Ideas
In his book The Condition of Man, published in 1944, Mumford characterized his orientation toward the study of humanity as "organic humanism "  The term is an important one because it sets limits on human possibilities, limits that are aligned with the nature of the human body  Mumford never forgot the importance of air quality, of food availability, of the quality of water, or the comfort of spaces, because all these elements had to be respected if people were to thrive  Technology and progress could never become a runaway train in his reasoning, so long as organic humanism was there to act as a brake  Indeed, Mumford considered the human brain from this perspective, characterizing it as hyperactive, a good thing in that it allowed humanity to conquer many of nature's threats, but potentially a bad thing if it were not occupied in ways that stimulated it meaningfully  Mumford's respect for human "nature", that is to say, the natural characteristics of being human, provided him with a platform from which to assess technologies, and technics in general  Thus his criticism and counsel with respect to the city and with respect to the implementation of technology was fundamentally organized around the organic humanism to which he ascribed  It was from the perspective of organic humanism that Mumford eventually launched a critical assessment of Marshall McLuhan, who argued that the technology, not the natural environment, would ultimately shape the nature of humankind, a possibility that Mumford recognized, but only as a nightmare scenario 
Mumford believed that what defined humanity, what set human beings apart from other animals, was not primarily our use of tools (technology) but our use of language (symbols)  He was convinced that the sharing of information and ideas amongst participants of primitive societies was completely natural to early humanity, and had obviously been the foundation of society as it became more sophisticated and complex   He had hopes for a continuation of this process of information "pooling" in the world as humanity moved into the future Mumford's choice of the word "technics" throughout his work was deliberate  For Mumford, technology is one part of technics  Using the broader definition of the Greek tekhne, which means not only technology but also art, skill, and dexterity, technics refers to the interplay of social milieu and technological innovation—the "wishes, habits, ideas, goals" as well as "industrial processes" of a society  As Mumford writes at the beginning of Technics and Civilization, "other civilizations reached a high degree of technical proficiency without, apparently, being profoundly influenced by the methods and aims of technics "

Megatechnics
In The Myth of the Machine Vol II: The Pentagon of Power (Chapter 12) (1970), Mumford criticizes the modern trend of technology, which emphasizes constant, unrestricted expansion, production, and replacement  He contends that these goals work against technical perfection, durability, social efficiency, and overall human satisfaction  Modern technology, which he called "megatechnics," fails to produce lasting, quality products by using devices such as consumer credit, installment buying, non-functioning and defective designs, planned obsolescence, and frequent superficial "fashion" changes  "Without constant enticement by advertising," he writes, "production would slow down and level off to normal replacement demand  Otherwise many products could reach a plateau of efficient design which would call for only minimal changes from year to year "
He uses his own refrigerator as an example, reporting that it "has been in service for nineteen years, with only a single minor repair: an admirable job  Both automatic refrigerators for daily use and deepfreeze preservation are inventions of permanent value      [O]ne can hardly doubt that if biotechnic criteria were heeded, rather than those of market analysts and fashion experts, an equally good product might come forth from Detroit, with an equally long prospect of continued use "

Biotechnics
Mumford was deeply concerned with the relationship between technics and bioviability   The latter term, not used by Mumford, characterizes an area's capability to support life up through its levels of complexity   Before the advent of technology, most areas of the planet were bioviable at some level or other; however, where certain forms of technology advance rapidly, bioviability decreases dramatically   Slag heaps, poisoned waters, parking lots, and concrete cities, for example, are extremely limited in terms of their bioviability  Non-bioviable regions are common in cinema in the form of dystopias (e g , Blade Runner)  Mumford did not believe it was necessary for bioviability to collapse as technics advanced, however, because he held it was possible to create technologies that functioned in an ecologically responsible manner, and he called that sort of technology biotechnics  Mumford believed that biotechnic consciousness (and possibly even community) was emerging as a later stage in the evolution of Darwinian thinking about the nature of human life  He believed this was the sort of technics needed to shake off the suicidal drive of "megatechnics " While Mumford recognized an ecological consciousness that traces back to the earliest communities, he regarded emerging biotechnics as a product of neo-Darwinian consciousness, as a post-industrial form of thinking, one that refuses to look away from the mutually-influencing relationship between the state of the living organism and the state of its environment  In Mumford's mind, the society organized around biotechnics would restrain its technology for the sake of that integral relationship 
In Mumford's understanding, the various technologies that arose in the megatechnic context have brought unintended and harmful side effects along with the obvious benefits they have bequeathed to us  He points out, for example, that the development of money (as a technology) created, as a side effect, a context for irrational accumulation of excess because it eliminated the burdensome aspects of object-wealth by making wealth abstract  In those eras when wealth was not abstract, plenitude had functioned as the organizing principle around its acquisition (i e , wealth, measured in grains, lands, animals, to the point that one is satisfied, but not saddled with it)  Money, which allows wealth to be conceived as pure quantity instead of quality, is an example of megatechnics, one which can spiral out of control  If Mumford is right in this conceptualization, historians and economists should be able to trace a relationship between the still-increasing abstraction of wealth and radical transformations with respect to wealth's distribution and role  And, indeed, it does appear that, alongside its many benefits, the movement toward electronic money has stimulated forms of economic stress and exploitation not yet fully understood and not yet come to their conclusion  A technology for distributing resources that was less given to abstract hoarding would be more suitable to a biotechnic conception of living 
Thus Mumford argued that the biotechnic society would not hold to the megatechnic delusion that technology must expand unceasingly, magnifying its own power and would shatter that delusion in order to create and preserve "livability " Rather than the megatechnic pursuit of power, the biotechnic society would pursue what Mumford calls "plenitude"; that is, a homeostatic relationship between resources and needs  This notion of plenitude becomes clearer if we suggest that the biotechnic society would relate to its technology in the manner an animal relates to available food–under circumstances of natural satisfaction, the pursuit of technological advance would not simply continue "for its own sake "
Alongside the limiting effect of satisfaction amidst plenitude, the pursuit of technological advance would also be limited by its potentially negative effects upon the organism  Thus, in a biotechnic society, the quality of air, the quality of food, the quality of water, these would all be significant concerns that could limit any technological ambitions threatening to them  The anticipated negative value of noise, radiation, smog, noxious chemicals, and other technical by-products would significantly constrain the introduction of new technical innovation  In Mumford's words, a biotechnic society would direct itself toward "qualitative richness, amplitude, spaciousness, and freedom from quantitative pressures and crowding  Self-regulation, self-correction, and self-propulsion are as much an integral property of organisms as nutrition, reproduction, growth, and repair " The biotechnic society would pursue balance, wholeness, and completeness; and this is what those individuals in pursuit of biotechnics would do as well 
Mumford's critique of the city and his vision of cities that are organized around the nature of human bodies, so essential to all Mumford's work on city life and urban design, is rooted in an incipient notion of biotechnics: "livability," a notion which Mumford got from his mentor, Patrick Geddes 
Mumford used the term biotechnics in the later sections of The Pentagon of Power, written in 1970  The term sits well alongside his early characterization of "organic humanism," in that biotechnics represent the concrete form of technique that appeals to an organic humanist  When Mumford described biotechnics, automotive and industrial pollution had become dominant technological concerns, along with the fear of nuclear annihilation  Mumford recognized, however, that technology had even earlier produced a plethora of hazards, and that it would do so into the future  For Mumford, human hazards are rooted in a power-oriented technology that does not adequately respect and accommodate the essential nature of humanity  Mumford is stating implicitly, as others would later state explicitly, that contemporary human life understood in its ecological sense is out of balance because the technical parts of its ecology (guns, bombs, cars, drugs) have spiraled out of control, driven by forces peculiar to them rather than constrained by the needs of the species that created them  He believed that biotechnics was the emerging answer and the only hope that could be set out against the problem of megatechnics   It was an answer, he believed, that was already beginning to assert itself in his time 
It is true that Mumford's writing privileges the term "biotechnics" more than the "biotechnic society " The reason is clear in the last sentence of The Pentagon of Power where he writes, "for those of us who have thrown off the myth of the machine, the next move is ours: for the gates of the technocratic prison will open automatically, despite their rusty ancient hinges, as soon as we choose to walk out " Mumford believed that the biotechnic society was a desideratum—one that should guide his contemporaries as they walked out the doors of their megatechnic confines (he also calls them "coffins")  Thus he ends his narrative, as he well understood, at the beginning of another one: the possible revolution that gives rise to a biotechnic society, a quiet revolution, for Mumford, one that would arise from the biotechnic consciousness and actions of individuals  Mumford was an avid reader of Alfred North Whitehead's philosophy of the organism 

Polytechnics versus monotechnics
A key idea, introduced in Technics and Civilization (1934) was that technology was twofold:

Polytechnic, which enlists many different modes of technology, providing a complex framework to solve human problems 
Monotechnic, which is technology only for its own sake, which oppresses humanity as it moves along its own trajectory Mumford commonly criticized modern America's transportation networks as being "monotechnic" in their reliance on cars  Automobiles become obstacles for other modes of transportation, such as walking, bicycle and public transit, because the roads they use consume so much space and are such a danger to people  Mumford explains that the thousands of maimed and dead each year as a result of automobile accidents are a ritual sacrifice the American society makes because of its extreme reliance on highway transport 

Three epochs of civilization
Also discussed at length in Technics and Civilization is Mumford's division of human civilization into three distinct epochs (following concepts originated by Patrick Geddes):

Eotechnic (the middle ages)
Paleotechnic (the time of the industrial revolution) and
Neotechnic (later, present-day)

Megamachines
Mumford also refers to large hierarchical organizations as megamachines—a machine using humans as its components  These organizations characterize Mumford's stage theory of civilization  The most recent megamachine manifests itself, according to Mumford, in modern technocratic nuclear powers—Mumford used the examples of the Soviet and United States power complexes represented by the Kremlin and the Pentagon, respectively  The builders of the pyramids, the Roman Empire and the armies of the World Wars are prior examples 
He explains that meticulous attention to accounting and standardization, and elevation of military leaders to divine status, are spontaneous features of megamachines throughout history  He cites such examples as the repetitive nature of Egyptian paintings which feature enlarged pharaohs and public display of enlarged portraits of Communist leaders such as Mao Zedong and Joseph Stalin  He also cites the overwhelming prevalence of quantitative accounting records among surviving historical fragments, from ancient Egypt to Nazi Germany 
Necessary to the construction of these megamachines is an enormous bureaucracy of humans which act as "servo-units", working without ethical involvement  According to Mumford, technological improvements such as the assembly line, or instant, global, wireless, communication and remote control, can easily weaken the perennial psychological barriers to certain types of questionable actions  An example which he uses is that of Adolf Eichmann, the Nazi official who organized logistics in support of the Holocaust  Mumford collectively refers to people willing to carry out placidly the extreme goals of these megamachines as "Eichmanns" 

The clock as herald of the Industrial Revolution
One of the better-known studies of Mumford is of the way the mechanical clock was developed by monks in the Middle Ages and subsequently adopted by the rest of society  He viewed this device as the key invention of the whole Industrial Revolution, contrary to the common view of the steam engine holding the prime position, writing: "The clock, not the steam-engine, is the key-machine of the modern industrial age      The clock     is a piece of power-machinery whose 'product' is seconds and minutes     "

Urban civilization
The City in History won the 1962 U S  National Book Award for Nonfiction  In this influential book Mumford explored the development of urban civilizations  Harshly critical of urban sprawl, Mumford argues that the structure of modern cities is partially responsible for many social problems seen in western society  While pessimistic in tone, Mumford argues that urban planning should emphasize an 'organic' relationship between people and their living spaces 
Mumford uses the example of the medieval city as the basis for the "ideal city," and claims that the modern city is too close to the Roman city (the sprawling megalopolis) which ended in collapse; if the modern city carries on in the same vein, Mumford argues, then it will meet the same fate as the Roman city 
Mumford wrote critically of urban culture believing the city is "a product of earth     a fact of nature     man's method of expression " Further, Mumford recognized the crises facing urban culture, distrustful of the growing finance industry, political structures, fearful that a local community culture was not being fostered by these institutions  Mumford feared "metropolitan finance," urbanization, politics, and alienation  Mumford wrote: "The physical design of cities and their economic functions are secondary to their relationship to the natural environment and to the spiritual values of human community "

Suburbs
Suburbia did not escape Mumford's criticism either:

In the suburb one might live and die without marring the image of an innocent world, except when some shadow of evil fell over a column in the newspaper  Thus the suburb served as an asylum for the preservation of illusion  Here domesticity could prosper, oblivious of the pervasive regimentation beyond  This was not merely a child-centered environment; it was based on a childish view of the world, in which reality was sacrificed to the pleasure principle 

Religion and spirituality
Mumford is also among the first urban planning scholars who paid serious attention to religion in the planning field  In one of his least well-known books, Faith for Living (1940, p  216), Mumford argues that:

The segregation of the spiritual life from the practical life is a curse that falls impartially upon both sides of our existence 

Influence
Mumford's interest in the history of technology and his explanation of  "polytechnics", along with his general philosophical bent, has been an important influence on a number of more recent thinkers concerned that technology serve human beings as broadly and well as possible  Some of these authors—such as Jacques Ellul, Witold Rybczynski, Richard Gregg, Amory Lovins, J  Baldwin, E  F  Schumacher, Herbert Marcuse, Erich Fromm, Murray Bookchin, Thomas Merton, Marshall McLuhan, Colin Ward and Kevin Carson—have been intellectuals and persons directly involved with technological development and decisions about the use of technology 
Mumford also had an influence on the American environmental movement, with thinkers like Barry Commoner and Bookchin being influenced by his ideas on cities, ecology and technology  Ramachandra Guha noted his work contains "some of the earliest and finest thinking on bioregionalism, anti-nuclearism, biodiversity, alternate energy paths, ecological urban planning and appropriate technology "Mumford's influence is also evident in the work of some artists including Berenice Abbott's photographs of New York City in the late 1930s Mumford was an inspiration for Ellsworth Toohey, the antagonist in Ayn Rand's novel The Fountainhead (1943) 

Works
Context 2: Passage 1:
Robert Aldrich
Robert Burgess Aldrich (August 9, 1918 – December 5, 1983) was an American film director, producer, and screenwriter  An iconoclastic and maverick auteur working in many genres during the Golden Age of Hollywood, he directed mainly films noir, war movies, westerns and dark melodramas with Gothic overtones  His most notable credits include Vera Cruz (1954), Kiss Me Deadly (1955), The Big Knife (1955), Autumn Leaves (1956), Attack (1956), What Ever Happened to Baby Jane? (1962), Hush   Hush, Sweet Charlotte (1964), The Flight of the Phoenix (1965), The Dirty Dozen (1967), and The Longest Yard (1974) 
Aldrich's directorial style combined "macho mise-en-scene and resonant reworkings of classic action genres," and were known for pushing the boundaries of violence in mainstream cinema, and for their psychologically-complex interpretations of genre film tropes  The British Film Institute wrote that Aldrich's films "subversive sensibility in thrall to the complexities of human behaviour " Several of his films later proved influential to members of the French New Wave Aside from his directorial work, Aldrich was also noted for his advocacy as a member of the Directors Guild of America, serving as its President for two terms, and becoming the namesake for its Robert B  Aldrich Achievement Award 

Early life
Family
Robert Burgess Aldrich was born in Cranston, Rhode Island, into a family of wealth and social prominence – "The Aldriches of Rhode Island"  His father, Edward Burgess Aldrich (1871–1957) was the publisher of The Times of Pawtucket and an influential operative in state Republican politics  His mother, Lora Elsie (née Lawson) of New Hampshire (1874–1931), died when Aldrich was 13 and was remembered with fondness by her son  Ruth Aldrich Kaufinger (1912–1987) was his elder sister and only sibling Among his notable ancestors were the American Revolutionary War general Nathanael Greene and the theologian Roger Williams, founder of Rhode Island Colony His grandfather, Nelson Wilmarth Aldrich, was a self-made millionaire and art investor  A Republican member of the U S  Senate for thirty years (1881–1911), he was dubbed "General Manager of the Nation" by the press for his dominant role in framing federal monetary policy A number of Aldrich's paternal uncles had impressive careers, among them a successful investment banker, an architect and Harvard instructor, a member of the U S  House of Representatives, and a chairman of the Chase Manhattan Bank who also served as U S  Ambassador to Great Britain   An aunt, Abigail Greene "Abby" Aldrich married John D  Rockefeller Jr , scion of the Standard Oil fortune, and was a leading figure in the establishment of the Museum of Modern Art in New York City  Nelson Rockefeller, a four-term governor of New York State and U S  vice-president under Gerald Ford, and Rockefeller's four brothers were the director's first cousins 

Education
As the only male heir to the Lawson-Aldrich family line, Aldrich was under considerable pressure to compete successfully with his numerous cousins in a family of high achievers Following family tradition and expectations, Aldrich was educated at Moses Brown School in Providence from 1933 to 1937  There he served as captain of the track and football teams and was elected president of his senior class 
Failing to matriculate to Yale due to mediocre grades, Aldrich attended the University of Virginia from 1937 to 1941, majoring in economics  He continued to excel in sports and played a leading role in campus clubs and fraternities During the Great Depression, the adolescent Aldrich began to question the justice of his family's "politics and power" which clashed with his growing sympathies with left-wing social and political movements of the 1930s  Aldrich's disaffection from the Aldrich-Rockefeller right-wing social and political orientation contributed to a growing tension between father and son Having satisfactorily demonstrated his aptitude for a career in finance, Aldrich defied his father by dropping out of college in his senior year without taking a degree Aldrich approached his uncle Winthrop W  Aldrich, who got his 23-year-old nephew a job at RKO Studios as a production clerk at $25 a week  For this act of defiance, Aldrich was promptly disinherited  Aldrich reciprocated by expunging public records of his connection with the Aldrich-Rockefeller clan, while stoically accepting the breach  He rarely mentioned or invoked his family thereafter  It has been said that "No American film director was born as wealthy as Aldrich — and then so thoroughly cut off from family money "

RKO Pictures: 1941–1943
At the age of 23, Aldrich began work at RKO Pictures as a production clerk, an entry-level position, after declining an offer through his Rockefeller connections to enter the studio as an associate producer He married his first wife, Harriet Foster, a childhood sweetheart, shortly before he departed for Hollywood in May 1941 Though the smallest of Hollywood's top studios, RKO could boast an impressive roster of directors (George Cukor, John Ford and Howard Hawks) as well as movie stars (Fred Astaire and Ginger Rogers, Cary Grant, Katharine Hepburn and the Marx Brothers)  The 23-year-old Aldrich assumed his duties shortly after Orson Welles, at 26, signed a six-movie contract with RKO after the release of the widely acclaimed Citizen Kane (1941) When the United States entered the Second World War in December 1941, Aldrich was inducted into the Air Force Motion Picture Unit, but was quickly discharged when an old football injury disqualified him for military service  The film studios' manpower shortage allowed Aldrich to win assignments as third- or second-tier director's assistant to learn the basics of filmmaking 

Second assistant director
In just two years he participated on two dozen movies with well-known directors  He was second assistant director on Joan of Paris (1942, directed by Robert Stevenson), The Falcon Takes Over (1942, directed by Irving Reis), The Big Street (1942), directed by Reis, Bombardier (1943, directed by Richard Wallace), Behind the Rising Sun (1943, directed by Edward Dmytryk),  A Lady Takes a Chance (1943, directed by William A  Seiter), The Adventures of a Rookie (1943, directed by Leslie Goodwins), Gangway for Tomorrow (1943, directed by John H  Auer), and Rookies in Burma (1943, directed by Goodwins) 

First assistant director
Towards the end of the war, Aldrich had risen to first assistant director making comedy shorts with director Leslie Goodwins 
In 1944, Aldrich departed RKO to begin free-lancing on feature films at other major studios, including Columbia, United Artists, and Paramount 

Assistant director: 1944–1952
Aldrich was fortunate to serve as an assistant director to many notable and talented Hollywood filmmakers  During these assignments, which spanned nine years, Aldrich gained both practical and aesthetic fundamentals of filmmaking: "set location and atmosphere" (Jean Renoir, The Southerner, 1945), the "techniques of pre-planning a shot" (Lewis Milestone's The Strange Love of Martha Ivers, 1946), "action scenes" (William A  Wellman's The Story of G I  Joe, 1946), the "importance of communication with actors" (Joseph Losey's The Prowler, 1951), and "establishing visual empathy between camera and audience" (Charlie Chaplin's Limelight, 1952) He also worked on Pardon My Past (1945, directed by Leslie Fenton) and The Private Affairs of Bel Ami (1947, directed by Albert Lewin) 
Aldrich approached these projects and directors with a fine discrimination, enabling him to learn from both their strengths and weaknesses During these years Aldrich forged lasting professional relationships with talented artists who would serve him throughout his filmmaking career, namely, cinematographer Joseph Biroc, film editor Michael Luciano, music director Frank De Vol, art director William Glasgow and screenwriter Lukas Heller  A troupe of loyal, mostly male, players were enlisted for his film leads and supporting roles: Burt Lancaster, Jack Palance, Lee Marvin, Eddie Albert, Richard Jaeckel, Wesley Addy, Ernest Borgnine and Charles Bronson 

The Enterprise Studios: 1946–1948
Aldrich's association with The Enterprise Studios marks the most formative period of his apprenticeship  The production company offered a unique venue of independent filmmakers welcoming socially conscious themes critical of authoritarian aspects of American society While at Enterprise, Aldrich established both a professional and a personal affiliation with screenwriter and director Abraham Polonsky, a major figure in the Popular Front movement of the 1930s  Their respective films addressed the issue of an individual's often desperate struggle to resist destruction by an oppressive society Enterprise's Body and Soul (1947), written by Polonsky, directed by Robert Rossen, and starring John Garfield, made a deep and lasting impression on the 29-year-old assistant director from both structural and thematic standpoints  Garfield plays a corrupt prizefighter who seeks to redeem himself by defying mobsters who insist he throw a fight or forfeit his life  While the protagonist's personal failings contribute to his own oppression, the film censures capitalism as an unredeemable system  Aldrich would revisit Body and Soul throughout his career when seeking guidance on how to convey the progressive ideals of the 1930s while working in the reactionary political atmosphere of the Cold War era 

In 1948 Aldrich joined Polonsky and Garfield on the early noir film Force of Evil  The story concerns a Wall Street attorney turned mob lawyer (Garfield) who informs on his employers when they murder his brother  Force of Evil's cinematically excessive visuals and striking sound would later appear in Aldrich's films Kiss Me Deadly and Twilight's Last Gleaming A number of Aldrich's associates at Enterprise came under scrutiny by the HUAC in the late 1940s after Enterprise had closed its doors  Among them were Rossen, Polonsky, Garfield, directors John Berry, and Joseph Losey, producer Carl Foreman, and screenwriter Dalton Trumbo, some of whom suffered blacklisting and imprisonment  Aldrich was never targeted by the authorities, despite his collaborations with these artists  This was largely due to his post-1930s entry into the film industry when recruitment by Communist and leftist organizations was declining  Nonetheless, Aldrich remained a champion for the victims of the Red Scare At Enterprise, Aldrich also worked as an assistant director on Arch of Triumph (1948) and No Minor Vices (1948) for Lewis Milestone, So This Is New York (1948) for director Richard Fleischer and producer Stanley Kramer, and Caught (1949) for Max Ophüls 
During his apprenticeship Aldrich developed a keen appreciation for the nexus between autonomous control over every element of picture production and achievement of his creative vision  He would forever strive for full control over his films 

Freelance assistant director: 1948–1952
After the demise of The Enterprise Studios, Aldrich continued to be in much demand as an assistant director  He worked again for Lewis Milestone on The Red Pony (1949) at Republic and did Red Light (1949) for Roy Del Ruth, A Kiss for Corliss (1949) for Richard Wallace,  The White Tower (1950) for Ted Tetzlaff, M (1951) and The Prowler (1951) for Joseph Losey, and New Mexico (1951) for Reis 
Aldrich was assistant to producer Harold Hecht on Ten Tall Men (1951), a French Foreign Legion action film starring Burt Lancaster  He worked as production manager on When I Grow Up (1951) for Sam Spiegel and as production manager on The Steel Trap (1952) for Andrew L  Stone 
Hecht had enjoyed working with Aldrich on Ten Tall Men and used him on The First Time (1952), the feature directorial debut of Frank Tashlin 
Aldrich's most notable credit to date came on Limelight (1952), for which he was assistant director to Charlie Chaplin  He was assistant on Abbott and Costello Meet Captain Kidd (1952) 

Television: 1952–1954
By 1952, the 34-year old assistant director, fully prepared to make his directorial debut, had no offers materializing in Hollywood  Eager to perform at a journeyman level, he moved to New York City to join its television startups 
The infant industries' golden age of live broadcasts was in a primitive stage of organization, and producers were pleased to enlist talent from the Hollywood film industry  More than merely a career move, television offered Aldrich an opportunity to apply the cinematic skills and concepts he had garnered during his eclectic education in movie-making to an entirely new medium "All they were paying directors was scale", recalled Aldrich of this time  "Who the hell wanted to go live in New York and work for scale? Only guys that had never directed or couldn't get a shot    Walter Blake    convinced these people who were doing the Camay soap shows that I was a genius waiting behind a rock out here  I had been assistant director on a Chaplin picture, so he told them that I had directed Chaplin  Nobody directs Chaplin except Chaplin, but these guys didn't know the difference  So I went back to New York and did, I don't know, thirty or forty shows "Procter & Gamble hired Aldrich in 1952 to direct episodes of the anthology series The Doctor (later retitled The Guest in syndication), an early soap opera starring Warner Anderson  Shooting schedules were notoriously tight  Despite this, Aldrich routinely dedicated half or more of the allotted time to rehearsals, an immensely reassuring practice for the players that contributed to the efficient execution of the final live shoot Following The Doctor, Aldrich resettled in Hollywood to complete twenty episodes of television's China Smith starring Dan Duryea, filmed on an even tighter timetable 
He also filled in as director on TV's Four Star Playhouse and the Schlitz Playhouse of Stars ("The Pussyfootin' Rocks") Aldrich described the early TV industry as a "director's crash course" where, unlike feature film production, the overall quality of the series outweighed the success or failure of an individual episode   In his two-year stint in television, Aldrich was free to experiment with technique and narrative schemes that would appear later in his film treatments  As such, he used cinematic framing and composition to reveal character motivation and close ups serving to highlight dialog, all of which endowed his episodes with a polished Hollywood studio-like appearance  Aldrich avoided disparaging television as an art form, only regretting its "rushed schedules and lack of preparation time "

Feature film director
Early feature films
In December 1951 Irving Allen announced he had formed Warwick Productions with Albert Broccoli  He intended to make The Gamma People with Robert Aldrich  In August 1952 Allen announced that Aldrich would make his feature debut as director with The Gamma People, to be shot in Europe in the winter from Aldrich's own script  Dick Powell was slated to star  However, the film would not be made for several years, with Aldrich's involvement limited to working on the story 
Aldrich broke into feature films as a director when Herbert Baker, who had worked with Aldrich on So This is New York, recommended the director to MGM, which was looking for someone with a background in sports for a low-budget baseball film, Big Leaguer (1953) The film was not particularly successful, so Aldrich returned to television, doing episodes of Four Star Playhouse, several of which were written by Blake Edwards  He directed "The Witness", which starred Dick Powell, Strother Martin, and Charles Bronson, and "The Bad Streak" with Charles Boyer Aldrich remained ambitious to work in features and raised money for a low-budget action film using many of the same sets and cast members of China Smith, including star Dan Duryea, called World for Ransom (1954)  It was made for Plaza Productions and financed by Allied Artists; Aldrich produced and directed  The cinematographer was Joseph F  Biroc, who would shoot many of Aldrich's later features 

Burt Lancaster: Apache and Vera Cruz
World for Ransom was seen by Harold Hecht and Burt Lancaster, who hired Aldrich to direct his first color film, Apache (1954), a western starring Lancaster as an Apache fighter  It was made for Hecht-Lancaster Productions and released through United Artists  This film was a big hit, earning $6 million Hecht and Lancaster used Aldrich again on Vera Cruz (1954), a western starring Gary Cooper and Lancaster   It was even more successful at the box office than Apache, making $9 million, and firmly established Aldrich as a director 

Turning producer: Kiss Me Deadly, The Big Knife and Attack
The success of these movies enabled Aldrich to set up his own company, The Associates and Aldrich, and sign a deal with United Artists  Its first movie was to be The Way We Are by Jack Jevne, about a woman who has an affair with a younger man  It was not immediately made 
Instead Aldrich produced and directed Kiss Me Deadly (1955), a film noir adapted by A  I  Bezzerides from a novel by Mickey Spillane starring Ralph Meeker as Mike Hammer   It was made for Parklane Productions, the independent company of Victor Saville, who owned the rights, and released through United Artists Aldrich and his company then made The Big Knife (1955), based on a play by Clifford Odets  Aldrich directed and produced this film about a movie star played by Jack Palance 
The Associates and Aldrich Company made a second film, also based on a play and released through United Artists, Attack (1956), starring Palance and Lee Marvin None of the three films was particularly successful at the box office, although they received some excellent reviews  In particular, Kiss Me Deadly became a major cult favorite in France  "I worked almost for nothing, economically, on those movies", he said  "They got caught up in the system and were not profitable pictures " Aldrich said his experiences made him "more cynical in terms of what preference to give survival and what preference to give material that might make a fine film which nobody or very few would go to see  That was the break  I realized that if you're careful in choosing projects and setting costs your taste and knowledge will, out of every six or seven pictures, produce one that makes a good deal of profitable return for everybody "The Associates announced numerous projects around this time, including Tryanny, Kinderspiel, Potluck for Pomeroy, Candidate for President (by Don Weis) and Machine for Chuparosa The Associates and Aldrich Company expanded to offer financing and distribution for other films  The only one that resulted was The Ride Back (1957) for UA  They wanted to make The Build Up Boys with Dana Andrews but the film did not eventuate 

Columbia: Autumn Leaves and The Garment Jungle
In between making Big Knife and Attack, Aldrich directed the Joan Crawford melodrama Autumn Leaves (1956) (originally The Way We Are), which was a minor hit Aldrich worked on the original story for the thriller The Gamma People (1956), made for Columbia and Warwick Productions in England 
In July 1956 Robert Aldrich signed a two-picture deal with Columbia to make films through his own company  The first was to be The Garment Jungle (1957)  The second was to be Until Proven Guilty  He also acquired the John O'Hara story Now We Know Aldrich started directing Garment but was fired towards the end of filming and replaced by Vincent Sherman In March 1957 Aldrich sued Columbia for reneging on a promise to make a film of the play Storm in the Sun, which he wanted to do with Crawford  The case was settled the following month Aldrich announced a range of projects – Kinderspiel, Pommeroy, The Snipe Hunt, Until Proven Guilty, Now We Know – but he found it difficult to get financing The Associates and Aldrich had the rights to the script for 3:10 to Yuma but ended up selling the project outright to Columbia 

Europe
Aldrich was unable to get a job until he had an offer from Hammer Films and Seven Arts to write and direct Ten Seconds to Hell (1959), starring Palance and Jeff Chandler, in Germany  While there, he was head of the jury at the 9th Berlin International Film Festival Aldrich stayed in Europe to make The Angry Hills (1959), based on the novel by Leon Uris and starring Robert Mitchum, for MGM in Greece for producer Raymond Stross  Aldrich had the film rewritten by Bezzerides, but then his cut of the film was re-edited by Stross  It was an unhappy experience for Aldrich and the film lost money Adlrich was going to make Taras Bulba in Yugoslavia with Anthony Quinn and a budget of $3 million, but the film did not proceed  Neither did another proposed subject, The Catalyst, based on a play by Ronald Duncan about male bisexuality  Aldrich would attempt to make Taras Bulba several times but ended up having to sell his script to Harold Hecht, who produced a film without Aldrich in 1962  Other projects he developed around this time include Angry Odyssey, The Left Bank, and Too Late the Hero Aldrich returned to Hollywood to direct episodes of Hotel de Paree ("Sundance Returns"), and Adventures in Paradise 
He directed a western, The Last Sunset (1961), starring Kirk Douglas and Rock Hudson, made for Douglas's company at Universal 
Aldrich tried to make Cross of Iron with John Mills but could not get financing Aldrich then went back to Italy, where he directed the Biblical spectacular Sodom and Gomorrah (1962)  for Joseph E  Levine  Aldrich disparaged the final film, which ended up costing $6 million 

Warner Bros: What Ever Happened to Baby Jane? and 4 For Texas
Aldrich rejuvenated his career by optioning the novel What Ever Happened to Baby Jane? (1962) for the Associates and Aldrich Company  He signed Bette Davis and Joan Crawford as stars, got Lukas Heller to write the script, and raised financing through Warner Bros  The film was a massive hit at the box office and earned five Academy Award nominations (including a win for black-and-white costume design), restoring Aldrich's commercial and critical reputation  It also revived the popularity of Davis and Crawford as box office draws and led to a subgenre of horror movies starring elder actresses nicknamed "Psycho-biddy"  It also started a run of films (continued in Hush Hush Sweet Charlotte and others) with a gothic, camp sensibility that became an immediate hit with queer audiences Still at Warners, Aldrich wrote, produced and directed a comic western with Frank Sinatra and Dean Martin, 4 for Texas (1963)  Made for Sam Productions, it had Charles Bronson, Victor Buono, Ursula Andress and Anita Ekberg in supporting roles  The film was reasonably popular at the box office, but Aldrich disliked working with Sinatra and the resulting film 

20th Century Fox: Hush Hush Sweet Charlotte and Flight of the Phoenix
Emboldened by his recent commercial successes, Aldrich announced a $14 million production program of eight films, including Cross of Iron, Whatever Happened to Cousin Charlotte, The Tsar's Bride, Brouhaha, The Legend of Lylah Clare, Paper Eagle, Genghis Khan's Bicycle, and There Really Was a Gold Mine a sequel to Vera Cruz  He had prepared scripts on  Now We Know, Vengeance Is Mine, Potluck for Pomeroy and Too Late the Hero  Other projects were The Strong Are Lonely, Pursuit of Happiness and the TV series The Man He started with a follow up to Baby Jane, Hush   Hush, Sweet Charlotte (1964), made for the Associates and Aldrich at 20th Century Fox  Bette Davis starred as a Southern woman who lives in a mansion and thinks she is going insane  Davis was to be reunited with Joan Crawford, but Crawford left the film and was replaced by Olivia de Havilland  The movie was popular, though not as successful as Baby Jane 
Aldrich stayed at Fox for his next film, the all-male action story The Flight of the Phoenix (1965), with James Stewart, Richard Attenborough and Peter Finch  The film was a commercial disappointment but eventually proved profitable 

MGM: The Dirty Dozen and The Legend of Lylah Clare
Aldrich had his biggest hit to date with The Dirty Dozen (1967), produced by Kenneth Hyman's Seven Arts Productions and released through MGM  Starring Lee Marvin, Charles Bronson, Ernest Borgnine and John Cassavetes, the film was a massive success at the box office Aldrich stayed at MGM for The Legend of Lylah Clare (1968) starring Finch and Kim Novak, made for Aldrich's own company  It was a critical and commercial disappointment 

Aldrich Studios
Aldrich sold his profit participation in Dirty Dozen to MGM for $1,350,000 and used the money to achieve a long-time dream – to buy his own studios, which he called the Aldrich Studios  He picked a facility at 201 North Occidental Boulevard, which had been in existence as a film studio since 1913, making Mary Pickford movies, and had recently been the basis of Sutherland Productions  Aldrich had made The Big Knife there "My dream has always been to own my own studio", he said  "With the possible exception of the old Enterprise Studio back in '45 I've never seen a studio run the way it should  That's because everybody at Enterprise felt they could make a contribution
and that's the feeling I hope we can have here "The studios were opened in August 1968  Along with Goldwyn, The Associates and Aldrich was the only major independent company with a studio in Hollywood  For the next few years he would make his movies there 

ABC Pictures
Aldrich's success with The Dirty Dozen led to the newly formed ABC Pictures offer the Associates and Aldrich Company a four-film contract  Aldrich announced they would be The Killing of Sister George, The Greatest Mother of Them All, Whatever Happened to Aunt Alice and Too Late the Hero Aldrich's first film for ABC was The Killing of Sister George (1968), adapted from by Lukas Heller from the play by Frank Marcus  It starred Beryl Reid and Susannah York and was notable for its frank depiction of a lesbian relationship  The movie was popular but because of its high cost lost money Aldrich produced but did not direct What Ever Happened to Aunt Alice? (1969), a psycho-biddy thriller in the vein of Baby Jane directed by Lee H  Katzin and starring Geraldine Page and Ruth Gordon  It also lost money  (Aldrich  announced he would make a third "Whatever Happened to" film, Whatever Happened to Dear Elva? based on the novel Goodbye, Dear Elva by Elizabeth Fenwick  However no film was made )
Aldrich made a 20-minute demo film, "The Greatest Mother of Them All" (1969), in an attempt to raise money for a feature-length version, but was unable to attract interest from ABC  Peter Finch starred ABC wanted Aldrich to make a war film in the vein of The Dirty Dozen so he produced and directed Too Late the Hero (1970), a "patrol" film, which he had been developing since 1959  Despite starring Michael Caine and Cliff Robertson and location work in the Philippines, the film made an overall loss of $6,765,000, making it one of the biggest money losers in the history of ABC Films Aldrich's next film for ABC was The Grissom Gang (1971), an adaptation of No Orchids for Miss Blandish set in the 1930s, with Scott Wilson and Kim Darby  It was another flop, losing ABC $3,670,000 Films Aldrich announced but did not make around this time included Rebellion, a western about Victoriano Huerta with Ernest Borgnine and George Kennedy;, The Movement, about student protest;  He also developed scripts for books which were turned into films by others: Coffee, Tea or Me? and Monte Walsh By now Aldrich's relationship with ABC had become fraught and devolved into lawsuits, in part caused by ABC refusing to finance other Aldrich projects  Aldrich parted company with ABC and in January 1972 put his studios up for sale In a 1972 interview Aldrich said that:

Lasting power is the most important power  Especially in this business, staying at the plate or staying at the table, staying in the game, is the essential  You can't allow yourself to get passed over or pushed aside  Very, very talented people got pushed aside and remained unused    If you must make a choice between luck and talent, you have to opt for luck  It's nice to have some of both, or a lot of both; but if you can't, luck is the answer  Nowhere else more so than in this business  The right place, the right time, the right script, all the right auspices—they made the difference to directors, writers, actors 

Ulzana's Raid and Emperor of the North Pole
Aldrich returned to westerns with Ulzana's Raid (1972), made at Universal for the Associates and Aldrich with producer Carter De Haven  It reteamed Aldrich with Lancaster for the first time since Vera Cruz  The film was a commercial disappointment but has subsequently come to be regarded as one of his finest films Aldrich followed it with Emperor of the North Pole (1973), a story of railway hobos in the 1930s starring Lee Marvin and Ernest Borgnine  Produced by Hyman at 20th Century Fox, it was another box office failure, though it too has seen its reputation soar in recent years (Leonard Maltin gave it 3 1/2 stars, calling it "unusual, exciting" and a "unique entertainment") 

Two with Burt Reynolds: The Longest Yard and Hustle
Aldrich's commercial fortunes were revived with a prison comedy starring Burt Reynolds,The Longest Yard (1974)  Made for producer Albert S  Ruddy at Paramount, it was Aldrich's biggest hit since The Dirty Dozen Aldrich and Reynolds promptly reteamed on Hustle (1975), made for their own production company RoBurt and released through Paramount  A tough police drama co-starring Catherine Deneuve, it was another box office success  However, tension between Aldrich and Reynolds during filming meant they made no more movies together  In 1975 Aldrich was elected president of the Directors Guild of America and served two two-year terms 

Lorimar: Twilight's Last Gleaming and The Choirboys
Aldrich signed a two-picture deal with Lorimar Productions, a TV company which wanted to move into features 
The first was Twilight's Last Gleaming (1977), an action thriller starring Lancaster  The second was a comedy, The Choirboys (1977), based on the best selling novel by Joseph Wambaugh, which Wambaugh disliked so much he sued to get his name taken off the film 

Final films: The Frisco Kid and All the Marbles
Aldrich's last movies were comedies: The Frisco Kid (1979), set in the West with Gene Wilder and Harrison Ford, and    All the Marbles (1981), set in the world of female wrestling with Peter Falk  Neither was particularly popular 
When the latter film came out, Aldrich said, "I'm 63 and I've had hits every ten years and I just hope I can function long enough to have one in the 90s "

Personal life
From his marriage to Harriet Foster (1941–1965), Aldrich had four children, all of whom work in the film business—Adell, William, Alida and Kelly  In 1966, after divorcing Foster, he married fashion model Sibylle Siegfried 

Death and legacy
Aldrich died of kidney failure on December 5, 1983, in a Los Angeles hospital  He is buried in Lot 5153 of the Whispering Trees Section of Forest Lawn Cemetery in Hollywood Hills Film critic John Patterson summarized his career in 2012: "He was a punchy, caustic, macho and pessimistic director, who depicted corruption and evil unflinchingly, and pushed limits on violence throughout his career  His aggressive and pugnacious film-making style, often crass and crude, but never less than utterly vital and alive, warrants — and will richly reward — your immediate attention "In 2012, John Patterson of The Guardian commented that Aldrich is "a wonderful director nearly 30 years dead now, whose body of work is in danger of slipping over the horizon " Japanese film director Kiyoshi Kurosawa noted Aldrich's influence on him In the FX miniseries Feud: Bette and Joan, Aldrich is portrayed by English actor Alfred Molina  The series follows the productions of Baby Jane and Sweet Charlotte 

Filmography
Films
Other film work
The Southerner (1945) (assistant director)
The Story of G I  Joe (1945) (assistant director)
Force of Evil (1948) (assistant director)
Caught (1949) (uncredited director of reshoots)
When I Grow Up (1950) (assistant director)
Limelight (1952) (assistant director)
The Gamma People (1956) (story)
The Garment Jungle (1957) (uncredited original director)
What Ever Happened to Aunt Alice? (1969) (producer)

Television
Unmade projects
Rebellion (late 1960s) — a western
The Crowded Bed (early 1970s)
The Greatest Mother of 'em All (1969) — the full-length feature was never shot
Rage of Honor (1970s) — western set in 1929 about an aging cowboy
Coffee, Tea or Me?  (early 1970s) — comedy about virginal air stewardess

Footnotes
Sources
Arnold, Edward T  and Miller, Eugene, L  1986  The Films and Career of Robert Aldrich  University of Tennessee Press  Knoxville, Tennessee  ISBN 0-87049-504-6
Sarris, Andrew 1981  What Ever Happened to Bobby Aldrich? CineFiles  University of California, Berkeley Art Museum and Pacific Film Archive  Retrieved 18 October, 2018 
Sauvage, Pierre  1976  Aldrich Interview in Edward Arnold's and Eugene Miller's Robert Aldrich: Interviews, 2004  University of Mississippi Press  ISBN 1-57806-602-6
Silver, Alain and Ursini, James  1995  What Ever Happened to Robert Aldrich?: His Life and His Films Limelight Editions  ISBN 0-87910-185-7
Walsh, David  2018  100 years since the birth of American filmmaker Robert Aldrich: Including an interview with film historian Tony Williams Retrieved 10 October 2018
Context 3: Passage 1:
Jerry Schumacher
Jerry Schumacher is an American coach for the University of Oregon track and field and cross country program, specializing in distance running  He has coached Olympic silver medalist and the former American women's 10k record holder Shalane Flanagan, former Canadian 10k record holder Simon Bairu, the former men's American 10k record holder Chris Solinsky, the men's American two mile record holder Matt Tegenkamp, and the women's NCAA 10k record holder Lisa Koll  Prior to 2008 he was the head coach of the University of Wisconsin–Madison track and field team During his college years at the University of Wisconsin, Schumacher specialized in the 1500m, an event in which he would become an All-American and set a personal best of 3:39 
After a brief period of post-collegiate running, Schumacher quickly transitioned into coaching, accepting a job as an assistant coach at the University of North Carolina 
The Head Men's Distance Coaching job at Wisconsin opened up, and it was an easy decision to move back to his home state and coach the Badgers  Over the next 9 years, Schumacher established Wisconsin as one of the premier distance schools in the country by bringing in top-level recruits and slowly developing his athletes 
He is now the coach of the Bowerman Track Club, a running club based in Portland, Oregon which has produced 28 Olympians during his tenure  In July 2022, the University of Oregon announced the hire of Schumacher as head Cross Country and Track and Field Coach, replacing Robert Johnson Schumacher is the father of 4 children 
Passage 2:
Ato Boldon
Ato Jabari Boldon  (born 30 December 1973) is a Trinidadian former track and field athlete, politician, and four-time Olympic medal winner  He holds the Trinidad and Tobago national record in the 50, 60 and 200 metres events with times of 5 64, 6 49 and 19 77 seconds respectively, and also the Commonwealth Games record in the 100 m  He also held the 100m national record at 9 86s, having run it four times until Richard Thompson ran 9 85s on 13 August 2011 
After retiring from his track career, Boldon was an Opposition Senator in the Trinidad and Tobago Parliament, representing the United National Congress from 2006–2007  Boldon works as an NBC Sports television broadcast analyst for track and field 

Career
Early life and junior career
Boldon was born in Port of Spain, Trinidad and Tobago to a Jamaican mother, and Trinidadian father, Hope and Guy Boldon  He attended Fatima College (Secondary School) in Trinidad before leaving for the United States at age fourteen  In December 1989, as a soccer player at Jamaica High School in Queens, New York City, head track and field coach Joe Trupiano noticed his sprinting abilities during a soccer practice session In his first track season at age 16, Boldon finished with 21 20 seconds in the 200 metres and 48 40 seconds in the 400 metres, recording a double win at the Queens County Championships in 1990, and earning MVP honours  After transferring for his final year from Jamaica High to Piedmont Hills High School in San Jose, California, Boldon was selected to the San Jose Mercury News' Santa Clara all-county soccer team  He also continued to sprint, placing third in the 200 m at the CIF California State Meet in 1991  Athletics became his primary focus and he won the Junior Olympic Title that summer in Durham, North Carolina, in 200 m 
At 18, Boldon represented Trinidad and Tobago at 100 metres and 200 m in the 1992 Summer Olympics in Barcelona but did not qualify in the first round of either event  Boldon returned to the junior circuit, winning the 100 m and 200 m titles at the IAAF World Junior Championships in Athletics in Seoul, South Korea to become the first double sprint champion in World Junior Championships history 
Boldon was also an NCAA Champion while enrolled as a sociology major at the University of California at Los Angeles (UCLA) in 1995 in the 200 m  In 1996, he secured an NCAA 100 m Championship in Eugene, Oregon in the final race of his collegiate career, setting an NCAA meet record of 9 92  Boldon also held the collegiate 100 m record with 9 90 s from 1996 until it was broken by Travis Padgett, who ran 9 89s, in 2008  Ngonidzashe Makusha later equalled this record at the 2011 NCAA Championships in Des Moines, Iowa

Senior athletics
Boldon won his first international senior-level medal at the 1995 World Championships, taking home the bronze in the 100 m  At the time, he was the youngest athlete ever at 21 years of age to win a medal in that event  The following year at the 1996 Summer Olympics, he again placed third in the 100 m and 200 m events, both behind world records  In 1997, he won the 200 m at the World Championships in Athens, Greece; his country's first world title in the Athletics World Championships  This made him one of only a few male sprinters to win both a World Junior and World Senior title 
The following year saw Boldon reaching the peak of his career, setting a new personal best and national record of 9 86 s in the 100 m at the Mt  SAC Relays in Walnut, California on 19 April and repeating the feat in Athens on 17 June  He picked up gold in the 100 m at the 1998 Commonwealth Games held in Kuala Lumpur, Malaysia, setting a record time of 9 88 s, beating Namibia's Frankie Fredericks (9 96 s) and Barbados' Obadele Thompson (10 00 s)  The Commonwealth Games 100 m record remains unbroken In 1999, Boldon ran 9 86 s twice in the 100 m before sustaining a serious hamstring injury which forced him to miss the World Championships in Seville – the only Championship he missed in his career due to injury 
A silver medal in the 100 m and a bronze in the 200 m were Boldon's results of the 2000 Summer Olympics, which was a personal victory, considering his comeback from a career-threatening injury the year before  This win made him the most successful individual Olympic medallist from Trinidad and Tobago with four Olympic medals 
In 2001, Boldon tested positive at an early-season relay meet for the stimulant ephedrine, and was given a warning, but was not suspended or sanctioned, since ephedrine is a substance found in many over the counter remedies, and Boldon had been treating a cold  "It is in no way something where the blame is laid on the athlete," said IAAF General Secretary István Gyulai of the positive result 
Also in 2001, at the World Championships in Edmonton, Alberta, Canada, Boldon finished fourth and out of the medals in the 100 m with 9 98 s, and then ran the second leg of his country's 4 x 100-metre relay, finishing third in the finals  This was Trinidad and Tobago's first 4 x 100 m relay medal in either World or Olympic competition and Boldon states that making national history with this team of young men (the average age of his teammates was 19) was his greatest accomplishment in his career  The colours of his 2001 World Championship medals would change in 2005 as both his placings were improved – he received bronze in the 100 m and the bronze relay medals were upgraded to silver after all the times and performances of the American sprinter Tim Montgomery (who was second in the 100 m and won the 4 x 100 m with the US team) were nullified due to serious doping violations  That brought Boldon's career total to four World Championship medals, to match his four Olympic medals 
Boldon was seriously injured in a head-on crash with a drunk driver in Barataria, Trinidad and Tobago, in July 2002, and never again ran sub-ten seconds in the 100 m or sub-twenty seconds for 200 m, something he had done on 37 separate occasions prior to 2002  In 2006, a judge in Trinidad found that Boldon was not at fault in that accident, and he was paid substantial damages as a result  That accident left Boldon with a serious hip injury, and he was a shadow of his former self as a sprinter  In 2004 at the Athens Olympic Games, he failed to advance out of the first round of the 100 m heats but captained his country's 4 x 100 m relay team to their first-ever Olympic final, where they finished seventh 
Boldon is the eighth person to win a medal for Trinidad and Tobago at the Olympics and currently has the third most wind-legal sub-10 second 100 m performances in history with 28, behind former training partner Maurice Greene, who has 52, and Jamaica's former 100 m World Record holder Asafa Powell, who leads with 97 
On 20 April 2008 The Observer published the contents of a letter believed to be by Boldon to John Smith, his former coach, accusing Smith, Maurice Greene of betraying him by obtaining banned drugs without his knowledge, lying about Greene competing without drugs and damaging his own career  But for a quote on the matter to HellenicAthletes com, a website he wrote for at the time, Boldon has had no further official comment 

Broadcasting
At the 1999 World Championships in Seville, Spain, Boldon could not compete due to a serious injury  The British Broadcasting Corporation hired him to do commentary and analysis for their coverage of those Championships  He proved popular with the audience and was invited back as a track-side analyst for the BBC coverage of the U S  Olympic Track and Field Trials in 2000, from Sacramento, California 
From 2005 to 2009, Boldon was in the broadcast booth for the U S  Television network CBS as part of their commentary team for the NCAA Outdoor Track and Field Championships  In June 2007, he made his debut for NBC Sports as an analyst for the 2007 U S  National Championships, and he also was an integral part of Versus and NBC's coverage of 2007 Osaka World Championships  In 2008, he was the sprint analyst at the US Olympic Track and Field Trials and the 2008 Summer Olympics for NBC Sports  Boldon was widely praised for his NBC work by the press, including the Los Angeles Times, USA Today and The New York Times which called him "one of NBC's best analysts, a blend of athletic smarts, charisma, precise analysis and brashness " In 2010, Boldon joined the only U S  track and field broadcast team he had not previously been a regular part of, ESPN, after the departure of their long-time analyst, Larry Rawson  In 2012, he continued his role as the NBC track and field analyst for the 2012 Summer Olympics  In 2013, for his 2012 London Olympic commentary, Boldon became the first and only track and field broadcaster in US history to be nominated for a Sports Emmy Award  He was nominated in the category of Outstanding Sports Personality, Sports Event Analyst  Cris Collinsworth, his friend and colleague from NBC Sports' Sunday Night Football, eventually won the Emmy, his fifth win in a row  Alongside Tom Feuer, Boldon has served as a game analyst for Track & Field events for the Pac-12 NetworkIn 2017, Boldon joined NASCAR on NBC's broadcast as a features contributor 

Politics
Boldon was sworn in on 14 February 2006 as a Senator representing the Opposition United National Congress following the resignation of former Senator Roy Augustus, who resigned on 13 February in a dispute over the leadership style of then Leader of the Opposition Basdeo Panday  Boldon resigned on 11 April 2007 after 14 months as a senator, also citing issues with Panday's leadership ability 

Media
In 2006, Boldon wrote, produced and directed a 73-minute DVD film entitled Once in a Lifetime: Boldon in Bahrain which documented his voyage with fellow fans and Trinidad and Tobago nationals to the Kingdom of Bahrain, where the country's soccer team, the Soca Warriors, defeated Bahrain 1–0 in a playoff to become the smallest country ever to qualify for the FIFA World Cup, qualifying to play at the Germany 2006 tournament 

Coaching
Boldon began coaching Khalifa St  Fort around 2012 and helped her improve her 100 m from 12 3 to 11 5 seconds after one month  St  Fort won the silver medal at the 2015 World Youth Championships in Athletics and a bronze in the relay at the 2015 World Championships in Athletics 

Personal life
Boldon married entertainment executive/manager Cassandra Mills in 1998 after a three-year courtship  Boldon and Mills divorced in 2007  They had no children together  He has one daughter from a previous relationship  He had a daughter with news anchor Neki Mohan in 2007  They split up in 2018  He resides in Florida  Boldon also holds U S  citizenship In 2000, Boldon was made a sports ambassador by the Republic of Trinidad and Tobago and given a diplomatic passport  He is widely viewed as one of the all-time leading sportsmen in the history of the Caribbean, as well as one of its most internationally recognizable spokesmen  When Trinidad and Tobago hosted the 2001 FIFA U-17 World Championship in association football, one of the new stadiums constructed for the tournament was located in Couva and named Ato Boldon Stadium  The only other island sprinter to have a stadium named after him is 1976 Olympic champion Hasely Crawford (Hasley Crawford Stadium located in the capital Port of Spain) 
Boldon is a qualified pilot, having earned his private pilot's license in August 2005  He is a member of the AOPA, Aircraft Owners and Pilot's Association 

Achievements
On 4 November 2011, Boldon was inducted into the UCLA Athletics Hall of Fame 

Competition record
Personal bests
All information taken from IAAF profile 
Passage 3:
Richard Thompson (sprinter)
Richard "Torpedo" Thompson (born 7 June 1985) is a sprinter from Trinidad and Tobago who specializes in the 100 metres  His personal best of 9 82 seconds, set in June 2014, was one of the top ten fastest of all time, and a national record  In the 200 meters he has the fourth fastest time by a Trinidad and Tobago athlete Thompson studied at Louisiana State University (LSU) and broke the National Collegiate Athletic Association (NCAA) indoor 60 metres record in 2008, his final season of collegiate athletics At the 2008 Beijing Olympics, Thompson was the silver medalist in the 100 meters, running a then personal best of 9 89 seconds, and the gold medalist in the 4x100 meters relay along with Emmanuel Callender, Keston Bledman and Marc Burns  He also won the silver medal in the 4x100 meters at the 2012 Olympics with the same team he competed in the 2008 Olympics with  Also in the 2012 Olympics, he finished 6th following the disqualification of Tyson Gay in the final of the 100 meters  Thompson is a five time Trinidad and Tobago national champion  His current personal best of 9 82 was set at the 2014 Trinidad and Tobago national championships In 2017, fellow sprinter and 2008 Olympic Games men's relay gold medalist Nesta Carter was sanctioned by the International Olympic Committee for doping at the 2008 event, retroactively awarding the Trinidad and Tobago team which included Thompson Olympic Gold 

Early life
Born on 7 June 1985 in Cascade, Port of Spain, Thompson is the last of four children of Ruthven and Judith Thompson  He attended Queen's Royal College in Port of Spain where he was coached by Ashwin Creed  He competed at the 2004 Hampton Games running a time of 10 65 in the 100 meters 

Amateur career
He ran for Louisiana State University as a member of the LSU Tigers track and field team and set NCAA Indoor record in the 60 metres in 2008   That year he won the NCAA Men's Outdoor Track Athlete of the Year Award and the SEC Men's Outdoor Track Athlete of the Year award 

Professional career
In his first World Championships in Athletics in Osaka in 2007, Thompson reached the second round but finished eighth in a time of 10 44 seconds  His personal best time is 9 89 seconds, achieved in August 2008 in Beijing, China, during the Olympic 100 m final where he won silver  Thompson's personal best for the 200 metres is 20 18 s which ran in Fayetteville for LSU  His 60 metres best is 6 51 s, achieved in March 2008 in Fayetteville  He won the relay gold medal at the 2008 Central American and Caribbean Championships with Trinidad and Tobago 
In the 2008 Summer Olympics he competed in the 100 m sprint and placed first in his heat ahead of Martial Mbandjock with a time of 10 24 s  He qualified for the second round, beating Tyson Gay and Mbandjock, with a winning time of 9 99 s  He qualified in the semi-finals with a time of 9 93 s, finishing second to Asafa Powell  In the final he finished in second place; he was far behind winner Usain Bolt (9 69 s) but his time of 9 89 s was enough to win the silver medal and set a new personal best  His new best time made him the second fastest Trinidadian 100 m sprinter ever, after Ato Boldon Together with Keston Bledman, Aaron Armstrong and Marc Burns he also competed at the 4 x 100 metres relay  In their qualification heat they placed first in front of Japan, the Netherlands and Brazil  Their time of 38 26 s was the fastest of all sixteen teams participating in the first round and they qualified for the final  Armstrong was replaced by Emmanuel Callender for the final race and they sprinted to a time of 38 06 s, the second time after the Jamaican team, winning the silver medal  In 2022, Thompson and his teammates received the gold medal due to Jamaica's Nesta Carter testing positive for the prohibited substance methylhexaneamine Thompson was involved in a car accident on 1 January 2009, resulting in minor injuries which caused him to miss the indoor athletics season  He competed at the 2009 World Championships in Athletics and reached the 100 m final, finishing in fifth place with a season's best of 9 93 seconds in fastest ever race at that point in time  He teamed up with fellow finalist Marc Burns for the relay and ran a national record time of 37 62 seconds to finish as runners-up behind the Jamaican team He achieved a 100/200 m double at the 2010 national championships  His season was highlighted by a win on the 2010 IAAF Diamond League circuit, taking the 100 m at the Prefontaine Classic with a wind-assisted time of 9 89 seconds  In August Thompson broke the national record with a run of 9 85 s at the 2011 national championships  The achievement, which ranked him ninth fastest in all-time lists, eclipsed Ato Boldon's record by 0 01 seconds  Despite this form, he failed to make the 100 m final at the 2011 World Championships in Athletics, being eliminated in the semis, although he did anchor the relay team to fifth place in the final 
At the 2012 national championships he had his win streak beaten by Keston Bledman and had to settle for second with his time of 9 96 seconds In the 2012 100m Olympic final, he gained the distinction of becoming the first man to break ten seconds and finish in seventh place



ground_truth: American

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Who starred in her final film role in the 1964 film directed by the man who also did Vera Cruz and Kiss Me Deadly?

The following are given passages.
Context 2: 
Williams, Tony  2003  Body and Soul: the cinematic vision of Robert Aldrich  The Scarecrow Press, Inc  Lanham, Maryland  ISBN 978-0-8108-4993-8

Further reading
Robert Aldrich biography and credits at the BFI's Screenonline Entry written by Robert Shail 
"Aldrich & Associates special section"  Screening the Past (10)  2000  A special issue of a film journal that emerged from a symposium devoted to Aldrich & Associates on August 2, 1998, in Melbourne 
Silver, Alain (May 2002)  "Robert Aldrich"  Senses of Cinema (20)  Silver's contribution to the journal's "Great Directors" series 

External links

Robert Aldrich at IMDb
Robert Aldrich at the TCM Movie Database 
Robert Aldrich at AllMovie
Robert Aldrich at Find a Grave
Literature on Robert Aldrich
Passage 2:
Hush… Hush, Sweet Charlotte
Hush   Hush, Sweet Charlotte is a 1964 American psychological thriller film directed and produced by Robert Aldrich, and starring Bette Davis, Olivia de Havilland, Joseph Cotten, Agnes Moorehead and Mary Astor in her final film role  It follows a middle-aged Southern woman, suspected in the unsolved murder of her lover from decades before, who is plagued by bizarre occurrences after summoning her cousin to help challenge the local government's impending demolition of her home  The screenplay was adapted by Henry Farrell and Lukas Heller, from Farrell's unpublished short story "What Ever Happened to Cousin Charlotte?"
Following his previous success adapting Farrell's novel What Ever Happened to Baby Jane?, Aldrich originally cast the film to reunite Davis with Joan Crawford, despite their notorious turbulence on set  Principal photography began with Davis in the title role and Crawford as Miriam, but shooting was postponed while Crawford dropped out and the role was recast with de Havilland  The film was a critical success, earning seven Academy Award nominations 

Plot
In 1927, young Southern belle Charlotte Hollis and her married lover John Mayhew plan to elope during a party at the Hollis family's antebellum mansion in Ascension Parish, Louisiana  Charlotte's father, Sam, confronts John over the affair and intimidates him with the news that John's wife Jewel visited the day before and revealed the affair  John pretends to Charlotte he can no longer love her and that they must part  Shortly after, John is ambushed and decapitated in the summerhouse by an assailant with a cleaver  Charlotte returns to the house in a bloodstained dress, which all of the guests witness 
Thirty-seven years later, Charlotte, a spinster, having inherited the estate after her father died, is tended to by her loyal housekeeper, Velma  In the intervening years, John's death has remained an unsolved murder, though it is commonly held that Charlotte was responsible  Despite notice from the Louisiana Highway Commission that she has been evicted from the property to make way for the impending construction of a new interstate, Charlotte is defiant, and threatens the demolition crew with a rifle  Seeking help in her fight against the Highway Commission, Charlotte summons Miriam, a poor cousin who lived with the family as a girl, but has since moved to New York City  Miriam returns and soon renews her relationship with Drew Bayliss, a local doctor who jilted her  Charlotte's sanity soon deteriorates following Miriam's arrival, her nights haunted by a mysterious harpsichord playing the song John wrote for her and by the appearance of his disembodied hand and head  Suspecting that Miriam and Drew are after Charlotte's money, Velma seeks help from Mr  Willis, an insurance investigator from England who is still fascinated by the case and who has visited Mayhew's ailing widow, Jewel; she gave him an envelope only to be opened after her death 
Miriam fires Velma, who later returns to discover Charlotte has been drugged  Velma plans to expose Miriam's exploitation of Charlotte, but Miriam hits Velma with a chair and she falls down the stairs to her death  Drew covers up the murder by declaring it an accident  One night, a drugged Charlotte runs downstairs in the grip of a hallucination, believing that John has returned to her  After Miriam tricks the intoxicated Charlotte into shooting Drew with a gun loaded with blanks, the two dispose of his body in a swamp  Charlotte returns to the house and witnesses the revived Drew walking downstairs after he returned, reducing her to insanity  Believing she has shattered Charlotte's mental state, Miriam celebrates with Drew in the garden, where they discuss the plan to have Charlotte committed to a psychiatric hospital and usurp her fortune  Charlotte overhears the entire conversation from the balcony, except for Miriam's admission that she had witnessed Jewel kill John, and has been using the knowledge to blackmail Jewel throughout the years  Charlotte kills Miriam and Drew, by pushing a large stone urn off the  balcony 
The next day, the authorities escort Charlotte from home, as a crowd gathers around to observe the spectacle  Charlotte receives an envelope from Mr Willis, which he received from Jewel (who died of a stroke after hearing of the incident which occurred on the previous night), ostensibly confessing to the murder of her husband John   As the authorities leave with Charlotte, she looks back at the house 

Cast
Production
Development and casting
Following the unexpected box office success of What Ever Happened to Baby Jane? (1962), Aldrich wanted to make a film with similar themes for Joan Crawford and Bette Davis  Their feud was infamous and legendary, and they were not initially eager to repeat themselves  
Writer Henry Farrell, on whose novel the film had been based, had written an unpublished short story called "What Ever Happened to Cousin Charlotte?" that Aldrich envisioned as a suitable follow-up  It told a similar story of a woman who manipulates a relative for personal gain, but for this film, Aldrich's idea was that the two actresses would switch the roles from the previous one, with Crawford playing the devious cousin trying to manipulate the innocent Davis into giving up her estate  Aldrich's frequent collaborator, Lukas Heller, wrote a draft of the screenplay, but was replaced by Farrell in late 1963 Three other cast members from What Ever Happened to Baby Jane? were cast in Hush   Hush, Sweet Charlotte: Wesley Addy, Dave Willock and Victor Buono 

The cast included Mary Astor, a friend of Davis' since their days at Warner Bros  Astor retired from acting and died in 1987  She said: My agent called: 'There's this cameo in a movie with Bette Davis  It's a hell of a part; it could put you right up there again ' I read the script  The opening shot described a severed head rolling down the stairs, and each page contained more blood and gore and hysterics and cracked mirrors and everybody being awful to everybody else  I skipped to my few pages–a little old lady sitting on her veranda waiting to die  There was a small kicker to it inasmuch as it was she who was the murderess in her youth and had started all the trouble  And then in the story, she died  Good! Now, I'd really be dead! And it was with Bette–which seemed sentimentally fitting 

Filming
Principal photography of the film began in mid-1964, with the on-location shooting commencing in Baton Rouge, Louisiana  However, the shoot was temporarily suspended on several occasions early on  Initially, it was halted after a third-party lawsuit was brought against Davis by Paramount Pictures over a commitment to complete additional filming on Where Love Has Gone (1964)  When this was resolved, filming recommenced 
The production was postponed again to allow Crawford to recover after she was admitted into the hospital due to an upper respiratory ailment, though Aldrich hired a private investigator to track her and determine whether or not she was actually ill  By August 4, 1964, the production had been suspended indefinitely, and the studio's insurance company insisted that Crawford be replaced, or else the film would have to be cancelled entirely Aldrich sought several actresses to replace Crawford, including Loretta Young, and Vivien Leigh, but they were each either unable or unwilling to take the role  Aldrich ultimately sought Olivia de Havilland for the part, and flew to her home in Switzerland to attempt to convince her to take the role  de Havilland agreed and she subsequently flew to Los Angeles to begin filming  In later interviews, de Havilland expressed displeasure with the film: "I wasn't thrilled with the script, and I definitely didn't like my part  I was reverse-typecast, being asked to be an unsympathetic villain  It wasn't what people expected of me  It wasn't really what I wanted to do  Bette wanted it so much, so I did it  I can't say I regretted it, because working with her was special, but I can't say it was a picture I am proud to put on my resume  Given the choice, I wouldn't have deprived Joan Crawford of the honor " According to Crawford, she only learned of her firing from a news radio broadcast  However, despite  being replaced (and because a planned reshoot with de Havilland in Louisiana was cancelled), brief footage of Crawford made it into the film, when she is seen sitting in the taxi in the wide shot for Miriam's arrival at the house (Crawford can be seen peering out of the window wearing dark sunglasses/clothing) 
Scenes outside the Hollis mansion were shot on location at Houmas House plantation in Louisiana  Scenes of the interior were shot on a soundstage in Hollywood 

Musical score
The title song by Frank de Vol became a hit for Patti Page, who recorded a version which reached no  8 on the Billboard Hot 100 

Release
Box office
According to Fox records, the film needed to earn $3,900,000 in rentals to break even and made $4,950,000, meaning it made a profit of $1,050,000  In France, the film sold 79,168 tickets 

Critical reception
Hush   Hush, Sweet Charlotte was another hit for Aldrich, opening to positive reviews  A pan, however, came from The New York Times  Bosley Crowther observed, "So calculated and coldly carpentered is the tale of murder, mayhem and deceit that Mr  Aldrich stages in this mansion that it soon appears grossly contrived, purposely sadistic and brutally sickening  So, instead of coming out funny, as did Whatever Happened to Baby Jane?, it comes out grisly, pretentious, disgusting and profoundly annoying "Variety's reviewer wrote: "Davis' portrayal is reminiscent of Jane in its emotional overtones, in her style of characterization of the near-crazed former Southern belle, aided by haggard makeup and outlandish attire  It is an outgoing performance, and she plays it to the limit  De Havilland, on the other hand, is far more restrained but nonetheless effective dramatically in her offbeat role " Judith Crist wrote about the film, "The guignol is about as grand as it gets " Kenneth Tynan asserted that "(Davis) has done nothing better since The Little Foxes " A later review for Time Out (London) observed: "Over the top, of course, and not a lot to it, but it's efficiently directed, beautifully shot, and contains enough scary sequences amid the brooding, tense atmosphere  Splendid performances from Davis and Moorehead, too "On the review aggregator website Rotten Tomatoes, 82% of 28 reviews are positive, with an average rating of 7 3/10 

Accolades
Moorehead won the Golden Globe for Best Supporting Actress  The film also received seven nominations (two more than Baby Jane: one less in the acting category, namely for Davis) for the 37th Academy Awards, breaking the record as the most for a horror film up to that time 

Home media
The film was first released on DVD on August 9, 2005  It was re-released on April 8, 2008, as part of The Bette Davis Centenary Celebration Collection 5-DVD box-set  On October 17, 2016, It was released onto high-definition Blu-ray in the US by Twilight Time as a 3,000-print limited edition  Another Blu-ray edition was released in the UK by Eureka Entertainment as a part of their "Masters of Cinema" collection on January 21, 2019 

See also
List of American films of 1964
Psycho-biddy
Passage 3:
A Kiss for Corliss
A Kiss for Corliss (retitled Almost a Bride before its release) is a 1949 American comedy film directed by Richard Wallace, written by Howard Dimsdale, and starring David Niven and Shirley Temple  The film, which was the last for both Wallace and Temple, was released on November 25, 1949, by United Artists  It is a sequel to the 1945 film Kiss and Tell, also directed by Wallace and starring Temple 

Plot
Playboy Kenneth Marquis is divorcing his third wife, who is represented by her attorney, Harry Archer  Corliss, Archer's teenaged daughter, is smitten with the charismatic Marquis and his free-wheeling lifestyle  Marquis sends a box of candy to Corliss, infuriating Archer, who interprets the gift as a jab at his settlement demand  Archer also prohibits Corliss' boyfriend Dexter from dating her after he sees Dexter at the Penguin Club, a restaurant that doubles as a gambling joint  Corliss manipulates Dexter into taking her to the club, but just after they arrive, the club is raided by police  Corliss and Dexter hide in the basement, but are temporarily trapped, causing Corliss to arrive home late, so she feigns amnesia to her parents to cover the truth  To refresh Corliss' memory, Archer reads her diary, which contains her imaginary romantic trysts with Marquis  The contents of the diary, along with Marquis' gift of candy, cause Corliss' parents to assume the worst 
Corliss' friend Raymond Pringle, who publishes a neighborhood paper, shows Marquis some of the diary entries, threatening to publish them unless Marquis buys advertising  Marquis visits the Archers and says that every word in the diary is true, that he is in love with Corliss, and that he wants to make her his fourth wife  When Archer explodes in anger, Corliss admits that the diary is not true and was written to make Dexter jealous  Marquis insists that the diary is true, though Corliss reveals why she was out late  Dexter arrives and eventually agrees with Corliss' version of events, but the Archers remain unconvinced  Marquis announces his engagement to Corliss in the newspaper to sue the Archers for breach of promise when the engagement is cancelled  The Archers delay rescinding the engagement to avoid the appearance of an immediate breach 
Marquis has gifts for Corliss delivered, and Archer is hounded by the media  Corliss continues to insist that the diary is false to her parents' continuing disbelief  Glimpse, a national magazine, runs photos of Marquis and Corliss  Archer's brother Uncle George, a Navy chaplain, visits and offers to perform the wedding  At the wedding rehearsal, held in the Archers' home, Dexter tells Mr  Archer that he has a witness who can attest to Corliss and his version of the events from the night when she was out late  Marquis' lie is revealed and the men escort him outside, where an offscreen fight ensues, and Archer and Dexter both return bloodied  Archer had overcome Marquis in the fight, but Dexter had accidentally hit  Archer  Marquis passes by an open window, his eye blackened, and mocks Archer and Dexter as he departs 

Cast
Shirley Temple as Corliss Archer
David Niven as Kenneth Marquis
Tom Tully as Harry P  Archer
Virginia Welles as Mildred Pringle
Darryl Hickman as Dexter Franklin
Gloria Holden as Mrs  Janet Archer
Robert Ellis as Raymond Pringle
Kathryn Card as Louise
Richard Gaines as Taylor
Roy Roberts as Uncle George
Passage 4:
The Ambulance
The Ambulance is a 1990 American comedy thriller film written and directed by Larry Cohen  It stars Eric Roberts, Megan Gallagher, James Earl Jones, Janine Turner, Red Buttons, and Eric Braeden as the Doctor  Kevin Hagen plays a cop   In his first film role, Stan Lee of Marvel Comics has a small role as himself 

Plot
Aspiring comic book artist Josh Baker meets a young woman named Cheryl on the streets of New York City, who proceeds to collapse and is rushed to a hospital by an ambulance   When Josh arrives at the hospital, he is shocked to find that there is no record of Cheryl ever being admitted and he soon learns another startling discovery, Cheryl's roommate also vanished after being picked up by the same ambulance 
Convinced that there is some sort of conspiracy going on, Josh proceeds to investigate the disappearances, despite the overt disdain and discouragement from Lt  Spencer 

Cast
Eric Roberts as Josh Baker
James Earl Jones as Lieutenant Frank Spencer
Megan Gallagher as Officer Sandra Malloy
Red Buttons as Elias Zacharai
Janine Turner as Cheryl Turner
Eric Braeden as The Doctor
Richard Bright as Detective Jerry McClosky
James Dixon as Detective John "Jughead" Ryan
Jill Gatsby as Jerilyn O'Brien
Martin Barter as Street Gang Leader
Laurene Landon as Patty
Nick Chinlund as Hugo (as Nicholas Chinlund)
Beatrice Winde as Head Nurse
Kevin Hagen as Cop At Stables
Matt Norklun as Ambulance Driver
Rudy Jones as Ambulance Driver
Stan Lee as Marvel Comics Editor
Deborah Hedwall as Nurse Barbera Feinstein
Susan Blommaert as Hospital Receptionist
Jordan Derwin as Hospital Official
Alexandra Jones as The Waitress
Michael O'Hare as Hal

Production
Cohen later said he was inspired by "the concept of taking something that is thought of as being benign or benevolent    or anything else that has a safe and wholesome image, and turning it into an object of terror " He had done this for It's Alive (babies) and The Stuff (junk food) and wanted to do it with ambulances  "When you hear or see an ambulance on the street, it’s usually considered to be something that is going to rescue you and take care of you, a vehicle of mercy," said Cohen  "In this story, it’s actually a vehicle of murder  The whole idea of an ambulance that suddenly arrives from nowhere, picks people up, and takes them away to some dark place where they are never seen or heard of again was completely original and creepy "Cohen says at one stage the financiers wanted a "classier" title than The Ambulance so he retitled it In Thin Air  They changed their mind and the film went back to being called The Ambulance  In the May, 1990 edition of his column Stan's Soapbox, Stan Lee mentions playing himself in a scene in "an adventure mystery called Into Thin Air and refers to the name change in a later column Cohen wanted to cast John Travolta or Jim Carrey in the lead but his producers refused Donald Trump made a small cameo in a deleted scene 
Jamie Lee Curtis was originally considered to play Officer Sandra Malloy
The role of the villain was originally played by Wesley Addy  However Cohen was unhappy with his performance and recast the role with Eric Braeden  Braeden's casting came at the suggestion of Cohen's mother who was a fan of The Young and the Restless 

Home media
The film was released on Blu-ray on March 13, 2018 by Scream Factory 

See also
List of films featuring diabetes
Passage 5:
Vera Cruz (film)
Vera Cruz is a 1954 American Western film directed by Robert Aldrich and starring Gary Cooper and Burt Lancaster, featuring Denise Darcel, Sara Montiel, Cesar Romero, Ernest Borgnine, Charles Bronson and Jack Elam  Set during the Franco-Mexican War, the film centers on a group of American mercenaries tasked with transporting a large shipment of Imperial gold to the port of Veracruz, but begin to have second thoughts about their allegiances  It was produced by Hecht-Lancaster Productions and released by United Artists on 25 December 1954 
The picture's amoral characters and cynical attitude towards violence (including a scene where Lancaster's character threatens to murder child hostages) were considered shocking at the time and influenced future Westerns such as The Magnificent Seven (1960), The Professionals (1966), Sam Peckinpah's The Wild Bunch (1969), and the Spaghetti Western films of Sergio Leone, which often featured supporting cast members from Vera Cruz in similar roles  Its influence on the latter led some critics to label it "the first Spaghetti Western "

Plot
During the Franco-Mexican War, ex-Confederate soldier Ben Trane travels to Mexico seeking a job as a mercenary  He falls in with Joe Erin, a younger gunslinger who heads a gang of cutthroats  They are recruited by Marquis Henri de Labordere for service with Emperor Maximilian  Maximilian offers them $25,000 to escort the Countess Duvarre to the city of Veracruz  Trane gets the emperor to double the offer 
During a river crossing, Trane notices that the stagecoach in which the countess is traveling is extremely heavy  Erin and Trane later discover that hidden inside are six cases of gold coins  The countess informs them that it is worth $3 million which is intended to pay for reinforcements from Europe  They form an uneasy alliance to steal and split the gold  Unbeknownst to them, the marquis is listening from the shadows 
The Juaristas, led by General Ramírez, attack the column several times  Pickpocket and Juarista undercover agent Nina joins the convoy  When Trane, Erin and their men are surrounded by the Juaristas, Trane persuades Ramirez to join forces and agree to pay them $100,000  The marquis succeeds in getting the gold to Veracruz  In the Juarista attack, the French are defeated, but most of Erin's men are killed  Erin attempts to steal the gold for himself by getting the countess to reveal the location of the ship she had hired to transport it  He even kills one of his own men  However, Trane arrives in time to confront him  They face off in a showdown that ends in Erin's death  Trane and Nina leave, while women search the dead for their loved ones 

Cast
Production
Burt Lancaster and Harold Hecht had just signed a contract with United Artists to make two films, starting with Apache, also directed by Robert Aldrich  Just before filming on that movie began in October 1953, Lancaster announced their second film would be Vera Cruz with himself and Gary Cooper, based on a story by Borden Chase In December 1953, after Apache finished filming, Lancaster announced Aldrich would direct Vera Cruz United Artists were so happy with Apache they changed the two-picture deal with Hecht and Lancaster into a two-year deal covering seven films 

Casting
Before taking the role of Ben Trane, Gary Cooper was advised by Clark Gable not to work with Burt Lancaster, fearing the younger actor would upstage him Mari Blanchard was meant to play the female lead and Hecht signed to borrow her from Universal  However, there was a clause forbidding her to appear on television which Hecht disagreed with  Instead they cast Denise Darcel  Mamie Van Doren claimed in her autobiography Playing the Field that Lancaster interviewed her for the role of the Countess, but she lost the part after refusing to sleep with him Charles Bronson was billed under his real name, 'Charles Buchinsky', in the film  This would mark the last time he would be credited that way, before he adopted his more well-known stage name 

Shooting
Filming started in February 1954  Vera Cruz was the first American film production to be shot entirely in Mexico  Though set in the city of Veracruz, the majority of the film was actually shot in and around Cuernavaca  Exterior shots were filmed at Chapultepec Castle in Mexico City, the ruins of Teotihuacan, and the climax was shot at Molino de Flores Nezahualcóyotl National Park in Texcoco de Mora  The interiors were filmed at Estudios Churubusco Vera Cruz was also the first production to use the SuperScope widescreen process, which was designed to achieve anamorphic prints from standard flat 35mm negatives  Shot at a conventional 1 37:1 aspect ratio, the film was cropped to 2:1 in post-production, given a CinemaScope-compatible (2x) squeeze, and blown up to normal frame height  
Aldrich and Lancaster got along well on Apache but as to Vera Cruz, the director said "we probably had a less amicable relationship than we anticipated  This was because Burt, until he directed The Kentuckian, thought he was going to be a director and when you're directing your first great big picture you don't welcome somebody else on hand with directorial notions  There were a few differences of opinion about concepts and about action " Lancaster recalled that Cooper demanded rewrites to his character to make him less morally-gray and more conventionally heroic 
According to Eli Wallach, the Mexican authorities were appalled at the unflattering depiction of their country, so any subsequent Hollywood productions (including The Magnificent Seven) were thoroughly overseen by state censors 

Reception
The film earned an estimated $5 million at the North American box office during its first run and $9 million overall In 1963, Aldrich announced he was working on a sequel There Really Was a Gold Mine but it was never made 

Legacy
Critic and historian Dave Kehr would later cite Vera Cruz as one of the most influential films of the 1950s, inspiring later Westerns by such directors as Sam Peckinpah and especially Sergio Leone  Kehr also praised Cooper and Lancaster's performances in the film, writing that "the generational transition from an aging star to his up-and-coming replacement has seldom been handled with better humor or more biting wit "

Home media
Vera Cruz was released to DVD by MGM Home Video on March 20, 2001, and to Blu-Ray on June 7, 2011  Kino Lorber re-released the film on Blu-ray on October 12, 2021 

See also
You Can't Win 'Em All, a 1970 film with a similar plot set in the Greco-Turkish War 
Passage 6:
Ten Tall Men
Ten Tall Men is a 1951 American adventure film starring Burt Lancaster about the French Foreign Legion during the Rif War in Morocco  Though co-written and directed by Willis Goldbeck, Goldbeck walked off the film due to disputes with Lancaster (whose own company, Norma Productions, produced the film) with the movie being completed by Robert Parrish   Credited as an associate producer, Robert Aldrich was a production manager on the film where he met Lancaster, which led him to direct Vera Cruz for him  Robert Clary made his debut in the film as an Arab batman  Portions of the film were filmed in Palm Springs, California  The story was released as a Fawcett Movie Comic #16 in April 1951 

Plot
After capturing an important Rif prisoner in an undercover operation, Sergeant Mike Kincaid (Lancaster) is imprisoned himself for striking a lieutenant (Stephen Bekassy) who beats a French woman (Mari Blanchard) with his riding crop for preferring Kincaid to him  Kincaid has a longstanding rivalry with the lieutenant, but the lieutenant is now in command of the company holding the city of Tarfa while the regiment is away  As the ranking officer, the lieutenant uses Kincaid's striking of him to get his revenge 
Kincaid is imprisoned alongside seven military prisoners and the captured Rif who has refused to talk, with the lieutenant refusing food and water to both Kincaid and the Rif   When his two comrades-in-arms who accompanied him on the mission, Corporals Luis Delgado (Gilbert Roland) and Pierre Molier (Kieron Moore), sneak food and water to Kincaid, he shares them with the Rif   To repay Kincaid's kindness and assuage his own guilt for telling the lieutenant about Kincaid's assignation with the Frenchwoman, the tells of an impending attack on Tarfa while the garrison is weak  The Rif believes Kincaid will escape to save himself, but he instead warns the lieutenant 
The experienced Kincaid tells the lieutenant that their only chance is to release him to lead a series of guerrilla hit-and-run attacks to delay the enemy for five days until the regiment returns   The lieutenant agrees, but only if Kincaid will testify that the idea was his  Kincaid agrees to his terms  The only men available for the mission are the seven prisoners, who receive full pardons for their crimes   His two corporals join them, raising their number to ten 
When scouting an enemy camp, the Legionnaires discover two rival tribes have joined forces, making them strong enough to take the city  Using his expertise in disguise and language, Kincaid finds out that the Rif leader, Khalid Hussein (Gerald Mohr), is marrying Mahla (Jody Lawrance) in order to cement an alliance with the other tribe  Kincaid kidnaps her to force the enemy to chase him for the five days 
Mahla begins to fall in love with her handsome captor, as Hussein pursues the Legionnaires across the desert  In the midst of the dangers, the patrol finds a destroyed Legion truck containing a safe that one of the men opens, revealing a large Legion payroll  When Jardine (John Dehner) tries to get away with the payroll, he is shot, but that tells the Rifs where they are 
Kincaid is eventually captured and Mahla freed  She demands that Kincaid be released unharmed, or she will not marry Hussein  Hussein reluctantly does so  Kincaid and his men infiltrate the wedding ceremony, and fighting breaks out  Mahla's tribe switches sides, and Hussein is killed 

Cast
Production
The film was the first of a two-picture deal Columbia Pictures signed with Norma Productions, the company of Burt Lancaster and Harold Hecht  (The second was to be Small Wonder, a film in which Lancaster would not appear )It was originally a Western story by James Warner Bellah and Willis Goldbeck which concerned conflict between the US cavalry and Apaches  Producer Harold Hecht and star Burt Lancaster then decided that "John Ford and other Hollywood operators have so effectively decimated the Apache population" that they hired writer A I  Bezzerides to reimagine the story with a Foreign Legion setting which wound up involving the Rif War (1911-1927)  Roland Kibbee and Frank Davis were hired to rewrite the script to make it more comedic The film was shot in February 1950 at the Columbia Ranch in the San Fernando Valley and on location in Yuma, Arizona 

Notes
External links
Ten Tall Men at the American Film Institute Catalog
Ten Tall Men at IMDb
Ten Tall Men at the TCM Movie Database
Passage 7:
Enteng the Dragon
Enteng the Dragon is a 1988 Philippine comedy film directed by Romy Villaflor and written by Tony S  Mortel  It is a parody of the film Enter the Dragon 

Plot
The story revolves around \ Enteng (Dolphy) a vendor of a mobile food house in China Town  Enteng is known for his humor, and a journalist and star reporter named Rowena (Dang Cecilio) was interested to cover his story after her Editor-in-Chief saw him as worthy of human interest  Kuto (Vandolph), a young boy that he found sleeping in his food wagon, led him to the shrine of the monks, that sealed his destiny as a vigilante and hero 

Cast
Dolphy as Enteng
Vandolph as Kuto
Dang Cecilio as Rowena
Eddie Garcia as the Evil Leader
Monica Herrera as Christina
Monsour del Rosario
Rommel Valdez
Tsing Tong Tsai
Panchito
Babalu
Don Pepot
Che-Che Sta  Ana
Roy Aoyama
Ros Olgado
Ernie Ortega
Estrella Querubin

Production
The film was produced by the RVQ Productions, a production owned by Dolphy himself 

Release
The film was released on July 14, 1988 

Accolades
Passage 8:
O Cangaceiro
O Cangaceiro (lit  "The Cangaceiro"; also known as The Bandit and The Bandits) is a 1953 Brazilian adventure western film directed by Lima Barreto  After some reluctance by its studio Vera Cruz, Barreto shot it in 1952  After its release it was national and international success, and won several awards, including the Adventure Film Award at the 1953 Cannes Film Festival  It was poorly received in retrospect despite being praised by the time of its release and started a subgenre in Brazilian cinema 

Cast
Alberto Ruschel as Teodoro
Marisa Prado as Olívia
Milton Ribeiro as Galdino
Vanja Orico as Maria Clódia
Adoniran Barbosa as Mané Mole

Production
In 1950, Lima Barreto joined the film studio Companhia Cinematográfica Vera Cruz invited by its then president Alberto Cavalcanti  After releasing two documentaries successfully for the studio, Painel and Santuário, Barreto get the chance to direct a feature film  With the idea to shoot a film about Lampião since the early 1940s, he only commenced to shoot it in 1952 after some reluctance by Franco Zampari, Vera Cruz's founder  Although he went to Bahia and did some research there, it was shot in Vargem Grande do Sul, São Paulo, with a production that lasted nine months due to internal conflicts 

Reception
O Cangaceiro was released on January 20, 1953, and was  a public success; it grossed ₢$30 million (about US$1 5 million) in the 24 Brazilian theaters in which it spent six weeks  After its national success, it was distributed to over 80 countries, becoming one of the most internationally successful Brazilian films—a feat uncommon in that time  It led it to be considered Vera Cruz's "high point" and its "most important production" by Georges Sadoul, author of Dictionary of Films, and by O Estado de S  Paulo's Luiz Zanin, respectively After winning several Brazilian awards, the film was entered into the 1953 Cannes Film Festival, where it was "much liked for its original and truly national flavour " O Cangaceiro won the Best Adventure Film Award, making it the first Brazilian film to win a prize at Cannes, and received a special mention to Gabriel Migliori's musical composition  At the Edinburgh International Film Festival it was awarded the Best Film It received mixed commentaries since its release  It was once voted the best Brazilian film in 1968 by National Film Institute's magazine Revista Film Cultura  Sadoul declared, "Lima Barreto well conveys a sense of poetry of the open desert space of the Sertão and makes this story lively and suspenseful"  After praising its cast performances and its "thrilling" musical score, Bosley Crowther of The New York Times said, "This [O] Cangaceiro is a picture that will cause the Western fans to rub their eyes " However, Cinema Novo representants—mainly Glauber Rocha—would criticize it for borrowing too much the style of American films  Critics also went on to comment on its "sociological inaccuracies "

Legacy
It is the first film to mix cangaço with Western, starting a genre called "Nordestern" —an amalgam of the words "Nordeste" (Northeast) and "Western"  It would be followed by successful films such as Carlos Coimbra's A Morte Comanda o Cangaço (1960), Lampião, o Rei do Cangaço (1964) and Corisco, o Diabo Louro (1969), and Aurélio Teixeira's Os Três Cabras de Lampião  It also established cangaço as a subgenre in Brazilian cinema; subsequently, cangaço would be featured as a theme from comedy—such as Os Três Cangaceiro and O Lamparina—to pornochanchada films—As Cangaceiras Eróticas and A Ilha das Cangaceiras Virgens  Also, Ruschel and Ribeiro would reprise the role of "good cangaceiro" and "bad cangaceiro" in other films 



ground_truth: Mary Astor

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: In what event was Harold Davis a former record holder, but now is held by Usain Bolt?

The following are given passages.
Context 3:  However, upon the disqualification of Tyson Gay due to doping, Thompson was promoted to sixth place 
During the 2014 national championships he won the finals, improving the national record with a run of 9 82 s, becoming one of the 10 fastest 100 m runners ever 

Major competition record
1Disqualified in the final

Personal bests
60 m and 200 m taken from IAAF profile
100 m taken from NAAA TT Website

Notes
Passage 4:
Harold Davis (athlete)
Harold Davis may refer to:

H  L  Davis (1894–1960), Pulitzer Prize-winning novelist
Harold A  Davis, pulp fiction author working under the pseudonym Kenneth Robeson, 1930s, 1940s
Harold Davis (American football) (1934–2007), American quarterback
Harold Davis (footballer) (1933–2018), Scottish footballer who played for Rangers F C 
Harold Davis (sprinter) (1921–2007), American sprinter and former world record holder
Harold Davis (photographer) (born 1953), American photographer and author
Harold Thayer Davis (1892–1974), American mathematician

See also
Harold Davies (disambiguation)
Harry Davis (disambiguation)
Passage 5:
I Am Bolt
I Am Bolt is a 2016 British biographical documentary sports film co-directed by Benjamin Turner and Gabe Turner and produced by Leo Pearlman  It is based on the life of Jamaican sprinter and three times Olympic gold medalist and World Record holder for 100m, 200m, 4×100m relay, Usain Bolt, the fastest man in recorded human history The film describes Bolt's journey in winning nine gold medals and the incidents surrounding the Olympic titles  The film was released on 28 November 2016 in United Kingdom and then worldwide  The film received mostly positive reviews from critics 

Cast
Usain Bolt himself
Pelé himself
Neymar himself
Serena Williams herself
Asafa Powell himself
Sebastian himself
Ziggy Marley himself
Nas with voice
Glen Mills himself
Ricky Simms himself
Chronixx himself
Yohan Blake himself
Maurice Greene himself
Wellesley and Jennifer Bolt – his parents themselves
Dwayne Jarrett – Bolt's school coach himself
Nugent Walker – Bolt's manager himself
Dwayne Barnett himself

Reception
Critical response
I Am Bolt received positive reviews  On review aggregator Rotten Tomatoes, the film has an approval rating of 83% based on 242 reviews, with an average rating of 7/10  The site's critical consensus reads, "
Bolt's golden era may be too recent and the sponsors too dominant for any real warts to be included, but his charm and sheer physical wonder make this a compelling watch regardless "Justin Lowe of The Hollywood Reporter reacted positively, saying: "Athletic achievements don’t get much more unbeatable than the records held by Jamaican runner Usain Bolt, who’s won nine consecutive Olympic gold medals and even more World Championship awards  Considered the fastest sprinter who’s ever logged track time, Bolt is a hero to millions and admired on a level comparable to global sports legends like Muhammad Ali and Pele "Xan Brooks of The Guardian gave it 2/5, stating "Fans of Usain Bolt will find much to relish in this gushing homage to the nine-time Olympic gold medallist, which chases its idol from his 2015 slump, via scenes of downtime in Jamaica to the podium in Rio 
Passage 6:
Glen Mills
Glen Mills OD (born 14 August 1949) is a sprinting athletics coach from Jamaica  He was the head coach of the Jamaican Olympic athletics team between 1987 and 2009  He is currently head coach of the Racers Track Club which includes world and Olympic record holder Usain Bolt and the 100-metre World Champion Yohan Blake  Other athletes that he has coached in the past include Kim Collins, and Ray Stewart 

Early years
Mills enjoyed athletics from an early age and, after moving to Camperdown High School, promptly joined the sprinting team at age 13  After his first year he was dissatisfied with his performances and gave up on the idea of becoming a professional sprinter  Despite this setback Mills was still enamoured with athletics and frequently attended the practice meetings to watch the others run  The high school coach, Henry McDonald Messam, noticed his interest and reluctance to participate and so assigned him various tasks and chores to keep him busy  Two years after, Mills had learnt well from the head coach and was given the job of coaching a class of younger track and field athletes  He retained the job after graduation, progressing to form an official part of the Camperdown High School coaching staff  The arrival of a new head of the sports department threatened Mills coaching opportunities and he was sacked in favour of a more experienced coach  The move backfired as many of the school's better athletes chose to stand by Mills, training with him at his new, unofficial training ground  Mills was quickly reinstated at the school and went on to train many successful sprinters, including Olympic silver medallist Raymond Stewart By the early 1970s, Mills had trained a significant number of male sprinters in the national junior team  The Jamaica Amateur Athletic Association (JAAA) called on him to work on the team, for the CARIFTA Games  Following this appointment Mills became a prominent coach in the Jamaican athletics scene  He continued to work on his coaching style and earned a diploma from the International Olympic Committee training centre in Mexico and a qualification in High-Level Sprint Tech training at the IAAF Training Centre in Puerto Rico  During his time as a coach in Jamaica he has worked with a number of Caribbean athletes including Yohan Blake, Aleen Bailey, Xavier Brown, Leroy Reid and Kim Collins  In addition, Mills also coached British sprinter Dwain Chambers when his athletics ban expired 

Training Bolt
Mills was approached by Usain Bolt shortly after the Athens Olympics and he became the sprinter's coach in late 2004  Bolt was initially a 200 metres specialist but Mills suggested that his young charge should improve his stamina to run over 400 metres  With upcoming competitions for Bolt, there was no time for him to prepare for 400m and Bolt asked if he could run the 100m  Bolt completed 100m in 10 03, an excellent time without any explosive training    At the 2007 Jamaican Championships in June, Bolt broke Donald Quarrie's 36-year-old record by 0 11 seconds, running 19 75 seconds  Mills agreed to Bolt's demands and let him run the 100 m event  The acceptance of the request paid dividends for both sprinter and coach as Mills was impressed with Bolt's new drive and focus in training  By the end of 2007, Mills was pleased with Bolt's performances and the coaching had improved his technique, particularly with a more efficient stride frequency and better balancing  In a trade-off the two agreed to a two part training programme in preparation for the 2008 Beijing Olympics  Mills would help Bolt work on his speed for the 100 m initially then turn his focus to the stamina needed for the 200 m  The program paid off as Bolt set three world records and took gold in both 100 m and 200 m events in Beijing  Bolt praised Mills, saying it was his coaching which made him improve, not only as an athlete, but also as a person  Despite Bolt's unprecedented achievements in Beijing, Mills still felt he could improve if his stride frequency was further improved and his technique perfected Mills stepped down as the Olympic Jamaican athletics coach in late 2009, having overseen athletes to 71 world championship and 33 Olympic medals in his 22 years in the role  He said other prominent coaches deserved a chance at undertaking the position and decided he wanted to focus more on his Racers Track Club team 

Drug controversy
In June 2009, five Jamaican athletes were found positive for banned substances  At least two of the athletes belong to the Racers Track Club and were coached by Mills  The athletes were later revealed to be Yohan Blake, Marvin Anderson, Allodin Fothergill, Lansford Spence and Sheri-Ann Brooks, who all tested positive for the stimulant Methylhexanamine, a compound similar to Tuaminoheptane, and were subsequently banned for three months by the Jamaica Anti-Doping Commission 

Awards
NACAC Coach of the Year 2008
Passage 7:
Kozo Haraguchi
Kozo Haraguchi (原口 幸三, Haraguchi Kōzō, June 20, 1910 in Kobayashi, Miyazaki – January 11, 2011 in Miyazaki City, Kyushu) was a track and field athlete and former World Masters Athletics record holder in the 100 m sprint for men aged 90–94 (18 08 seconds, 2000) as well as the former record holder for men aged 95–100 (21 69 seconds, August 27, 2005)  Haraguchi began competing in track and field events when he turned 65, with his exercise regimen which included a one-hour walk every morning 
Passage 8:
Mosito Lehata
Mosito Lehata (born 8 April 1989 in Maseru) is a Mosotho athlete competing in sprinting events  He is the current holder of the Lesotho national record for the 100-meter at 10 11 seconds, and has consistently won the national track championships on shorter tracks  He was eliminated in the first round of the men's 200 m event at the 2012 Summer Olympics  Lehata found success in the 200 m event at the 2013 World Championships in Athletics when he finished in the first round ahead of Jamaican sprinter Usain Bolt and advanced to the semifinals   He set a new national record in the 200 m at the 2014 Commonwealth Games, finishing in 4th, four hundredths of a second behind the bronze medal winner At the 2016 Summer Olympics, he competed in the 100 m and 200 m events  He finished 4th in his heat for the 100 m with a time of 10 25 seconds and did not qualify for the semifinals  He finished 7th in his heat for the 200 m with a season best time of 20 65 seconds, but did not qualify for the semifinals  He was the flagbearer for Lesotho during the Parade of Nations 

Competition record
1Did not start in the semifinals
2Disqualified in the semifinals
3Did not finish in the semifinals

Personal bests
Outdoor

100 metres – 10 11 (+1 4 m/s, Réduit 2015)
200 metres – 20 36 (+0 5 m/s, Glasgow 2014)Indoor

60 metres – 7 00 (Istanbul 2012)
Passage 9:
Warren Weir
Warren Weir (born October 1989) is a retired Jamaican sprinter, who specialized in the 200 metres  He was the bronze medallist in the event at the 2012 London Olympics, helping Jamaica sweep the medals  In 2013 at the Moscow World Championships, Warren Weir won the silver medal equalling his personal best  He finished behind Usain Bolt who set a World Leading time  His personal best is 19 79 seconds set at the National Stadium in his home country Kingston, Jamaica  He has since equalled his personal best in Moscow, in the World Championship final  He trained with the Glen Mills-coached Racers Track Club, alongside Usain Bolt and Yohan Blake 

Career
At the start of his career, Weir competed in the short sprints and the 110 metres hurdles  Born in Trelawny Parish, he ran the 100 m and 200 m for Calabar High School at the Jamaican High School Championships  At the 2007 Jamaican junior championships he set a hurdles best of 13 65 seconds for second place and set a 100 m dash best of 10 69 seconds  He was a hurdles finalist at the 2007 Pan American Junior Athletics Championships and a silver medallist at the 2008 CARIFTA Games, where he also shared in the 4×100 metres relay gold medal  In his first appearance on the global stage, Weir reached the semi-finals at the 2008 World Junior Championships in Athletics  He competed sparingly in his first years as a senior, although he did run personal bests in the 100 m (10 50) and the 400 metres hurdles (53 28) in 2009 Weir began to emerge as a 200 m specialist in 2011 after joining the Racers Track Club under coach Glen Mills  He and Mills noticed that the hurdles were leaving him with knee pain and both decided that Weir should focus on sprinting instead  He dipped under 21 second for the first time and placed sixth at the Jamaican Championships  He was invited to European meetings for the first time and performed well at his first Diamond League meeting, taking second place to Walter Dix with a personal best of 20 43 seconds into a strong headwind  He began 2012 by bringing his 200 m best down to 20 21, then 20 13 seconds  A time of 20 08 seconds brought him third place at the Adidas Grand Prix in New York in June At the Jamaican Olympic Trials in 2012, Weir broke twenty seconds with a personal best of 19 99 seconds in the 200 m semi final and a third-place finish in the final, behind Yohan Blake and Usain Bolt, earned him a spot on the Jamaican team for the 2012 Summer Olympics  In the Olympic 200 m final he was a surprise bronze medallist, securing a new personal best of 19 84 seconds in the process  His medal made it an all-Jamaican podium finish alongside fellow Racers Track Club athletes Bolt and Blake – the first time Jamaican men had achieved such a medal sweep at the Olympics Weir started out his 2013 season with a victory of 20 11 seconds in the Adidas Grand Prix in New York City  In June, he registered a 10 02 100m run, a massive personal best from his previous record of 10 51 seconds in 2008  Later in the 2013 Jamaican National Championships, Weir cruised to the finish line in the 200m final in 19 79 seconds, tying Bolt's world leading mark at that point  Having won the first two of his diamond league 200m races (in the Golden Grand Prix and the Adidas Grand Prix), Weir finished second to Bolt at the Meeting Areva, where Bolt set a world lead and meeting record of 19 73  Despite the clear loss to Bolt in Paris, Weir looked to be the closest to a challenger for Bolt at the World Championships that year  At the London Anniversary Games Weir clocked an impressive 19 89 and followed this up with a meeting record in the relay, clocking 37 75 
Come the 2013 World Championships in Athletics, Weir took the heats easily and made it to the final  In the final, Bolt won the race in a world leading time of 19 66 to become the first man to win the 200m at the world championships three times  Weir got clear silver at 19 79, equalling his best, and Curtis Mitchell the bronze in 20 04  Weir would later collect a gold in the 4 × 100 m, after running in the heats  Weir finished his season off by winning the 200m at the Memorial Van Damme in Brussels and hence won the Diamond League 
In 2014, Weir competed in the Commonwealth Games, running the 200m   After winning his heats, Weir won the silver medal in the final 
He is known for saying "No English, straight Patois," sparking calls on social networks for T-shirts to be printed with the phrase In August 2017 Weir announced his retirement from competition via his Instagram account, after not advancing from the heats in the 200m at the 2017 World Championships in Athletics in London In a change of sport, Weir was a member of the Jamaica rugby sevens team that came third at the 2018 Central American and Caribbean Games 

Statistics
Personal bests
100 metres: 10 02 sec (2013)
200 metres: 19 79 sec (2013)
400 metres: 46 10 sec (2013)
110 metres hurdles (junior): 13 65 sec (2007)
400 metres hurdles: 53 28 sec (2009)

International competition record
Passage 10:
Men's 100 metres world record progression
The first record in the 100 metres for men (athletics) was recognised by the International Amateur Athletics Federation, now known as World Athletics, in 1912 
As of 21 June 2011, the IAAF had ratified 67 records in the event, not including rescinded records 

Unofficial progression before the IAAF
IAAF record progression
"Wind" in these tables refers to wind assistance, the velocity of the wind parallel to the runner - positive values are from the starting line towards the finish line, negative are from the finish line towards the starting line, 0 is no wind in either direction, and all values are measured in metres per second   Any wind perpendicular to the runners (from left to right, right to left, or up to down or down to up, although the conditions of the track generally preclude those wind directions) is ignored and not listed 
"Auto" refers to automatic timing, and for the purposes of these lists, indicates auto times which were either also taken for hand-timed records, or were rounded to the tenth or hundredth of a second (depending on the rounding rules then in effect) for the official record time 

Records 1912–1976
The first manual time of 9 9 seconds was recorded for Bob Hayes in the final of the 100 metres at the 1964 Olympics  Hayes' official time of 10 0 seconds was determined by rounding down the electronic time of 10 06 to the nearest tenth of a second, giving the appearance of a manual time  This method was unique to the Olympics of 1964 and 1968, and the officials at the track recorded Hayes' time as 9 9 seconds 

Records since 1977
Since 1975, the IAAF has accepted separate automatically electronically timed records for events up to 400 metres  Starting on January 1, 1977, the IAAF has required fully automatic timing to the hundredth of a second for these events Jim Hines' October 1968 Olympic gold medal run was the fastest recorded fully electronic 100 metre race up to that date, at 9 95 seconds  Track and Field News has compiled an unofficial list of automatically timed records starting with the 1964 Olympics and Bob Hayes' gold medal performance there  Those marks are included in the progression 
The event is linked on some of the dates 

Low-altitude record progression 1968–1987
The IAAF considers marks set at high altitude as acceptable for record consideration  However, high altitude can significantly assist sprint performances  One estimate suggests times in the 200 m sprint can be assisted by between 0 09 s and 0 14 s with the maximum allowable tailing wind of (2 0 m/s), and gain 0 3 s at altitudes over 2000 m  For this reason, unofficial low-altitude record lists have been compiled 
After the IAAF started to recognise only electronic times in 1977, the then-current record and subsequent record were both set at altitude  It was not until 1987 that the world record was equalled or surpassed by a low-altitude performance  The following progression of low-altitude records therefore starts with Hines's low-altitude "record" when the IAAF started to recognise only electronic timing in 1977, and continues to Lewis's low-altitude performance that equalled the high-altitude world record in 1987  (Ben Johnson's 9 95 run in 1986 and 9 83 run in 1987 are omitted )

See also
Women's 100 metres world record progression
Men's 200 metres world record progression
100-yard dash

Notes



ground_truth: 100 metres