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

Question: What is the record label for the band which performed Pythons?

The following are given passages.
Context 1: Passage 1:
Pythons (album)
Pythons is the second studio album by indie rock band Surfer Blood  It was released in June 2013 under Sire Records and produced by Gil Norton  Following the release of their EP, Tarot Classics, Surfer Blood had been writing songs whilst on tour  The first song to be written for the album is technically "Prom Song", as they have had the guitar parts for this song for a few years now  The album features all the qualities that define Surfer Blood's sound, but is stripped of its reverb and given a more polished production, as opposed to the production that took place in front-man John Paul Pitts' apartment  "Pixies" guitarist Joey Santiago lent the band equipment such as amplifiers and guitars during the album's production, as Norton is a close friend of his because he produced most of the Pixies discography 

Track listing
Personnel
John Paul Pitts - vocals, guitar
Thomas Fekete - guitar, vocals
Kevin Williams- bass, keyboards, vocals
Tyler Schwarz - drums
Gil Norton - producer
Dan Austin - engineer, programming
Brian Gardner - mastering
Rob Schnapf - mixing
Chris Szczech - mixing assistant
Brendan Dekora - assistant engineer
Jeff Sosnow - A&R
Alex Black - A&R
Julia Pitts - photography
Frank Maddocks - art direction, photography
Esteban Neumann - illustrations
Passage 2:
Waterfalls (album)
Waterfalls is a live album by American saxophonist and composer John Klemmer featuring studio enhanced live performances recorded in Los Angeles for the Impulse! label 

Reception
The Allmusic review by Scott Yanow awarded the album 4 stars stating it is "Worth investigating by open-eared listeners" 

Track listing
All compositions by John Klemmer"Prelude I" – 3:33
"Waterfalls" – 4:19
"Utopia: Man's Dream, Part 1" – 8:47
"Utopia: Man's Dream, Part 2" – 3:50
"There's Some Light Ahead" – 4:29
"Centrifugal Force" – 5:59
"Prelude II" – 4:02
"Waterfall II" – 6:08Recorded in performance at the Ash Grove in Los Angeles, California on June 17, 1972 and "enchanted" at The Village Recorder in Los Angeles on June 22, 1972

Personnel
John Klemmer – tenor saxophone, soprano saxophone, echoplex
Mike Nock – electric piano
Wilton Felder – electric bass
Eddie Marshall – drums
Victor Feldman – percussion
Diana Lee – vocals (tracks 3, 4 & 6)
Passage 3:
2 Horns / 2 Rhythm
2 Horns / 2 Rhythm is an album by American jazz trumpeter Kenny Dorham, featuring performances with Ernie Henry  It was recorded in 1957 and released on Riverside Records  This was Henry's last recording session 

Reception
The AllMusic review by Scott Yanow awarded the album four stars and stated "The sparse setting (unusual for a Dorham session) works quite well" 

Track listing
Recorded in New York City on November 13 (tracks 1–3, 5–7 & 9) and December 2 (tracks 4 & 8), 1957

Personnel
Kenny Dorham – trumpet, piano (track 3)
Ernie Henry – alto saxophone
Eddie Mathias (tracks 1–3, 5–7 & 9), Wilbur Ware (tracks 4 & 8) – bass
G T  Hogan – drums
Passage 4:
Crystal (Ahmad Jamal album)
Crystal is an album by American jazz pianist Ahmad Jamal featuring performances recorded in 1987 and released on the Atlantic label 

Critical reception
In an Allmusic review by Scott Yanow states "There are some magical moments on this quartet set    Jamal's control of dynamics and inventive use of space proved to be as effective as it had been when he first made his mark in the 1950s, although his chord voicings and general style had evolved  Jamal and his group perform ten of his originals with taste, swing and subtle surprises" 

Track listing
All compositions by Ahmad Jamal

"Quest for Light" – 4:48
"Arabesque" – 4:48
"Avo" – 7:04
"Piano Solo" – 1:57
"For My Daughter" – 3:34
"Perugia" – 3:57
"The Last Day" – 6:00
"Crystal" – 4:58
"Swahililand" – 4:08
"The Canteen" – 3:08

Personnel
Ahmad Jamal – piano
James Cammack – bass
David Bowler – drums
Willie White – percussion
Passage 5:
Plenty, Plenty Soul
Plenty, Plenty Soul is an album by American jazz vibraphonist Milt Jackson featuring performances recorded in 1957 and released on the Atlantic label 

Reception
The Allmusic review by Scott Yanow stated that "these all-star dates still sound fresh and enthusiastic decades later" 

Track listing
All compositions by Milt Jackson, except as indicated"Plenty, Plenty Soul" (Milt Jackson, Quincy Jones) - 9:33
"Boogity Boogity" (Jones) - 4:55
"Heartstrings" - 4:53
"Sermonette" (Cannonball Adderley) - 5:23
"The Spirit-Feel" - 4:22
"Ignunt Oil" - 5:35
"Blues at Twilight" (Jones) - 6:46Recorded in New York City on January 5 (tracks 4–7) and January 7 (tracks 1–3), 1957

Personnel
Milt Jackson – vibes
Joe Newman - trumpet
Jimmy Cleveland - trombone (tracks 1–3)
Cannonball Adderley - alto saxophone (tracks 1–3)
Frank Foster (tracks 1–3), Lucky Thompson (tracks 4–7) - tenor saxophone
Sahib Shihab - baritone saxophone (tracks 1–3)
Horace Silver - piano
Percy Heath (tracks 1–3), Oscar Pettiford (tracks 4–7) - bass
Art Blakey (tracks 1–3), Connie Kay (tracks 4––7) – drums
Quincy Jones - arranger (tracks 1–3)
Passage 6:
The Main Attraction (album)
The Main Attraction is an album by American jazz guitarist Grant Green featuring performances recorded in 1976 and released on the Kudu label 

Reception
The AllMusic review by Thom Jurek awarded the album two stars and stated "While it's true that this isn't one of Green's best records, it's not by any means his worst    Contrary to jazz critics' opinions, Green had nothing to be ashamed of on Main Attraction  If funky '70s soul-jazz is your thing, you won't go wrong with this one" 

Track listing
"The Main Attraction" (Don Grolnick, Steve Khan, Will Lee, David Matthews, Andy Newmark) - 19:35
"Future Feature" (Matthews) - 7:47
"Creature" (Grant Green) - 10:20Recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey in March 1976 with additional recording at A&R Studios, NYC

Personnel
Grant Green - guitar
Burt Collins, Jon Faddis - trumpet
Sam Burtis - trombone
Hubert Laws - flute
Michael Brecker, Joe Farrell - tenor saxophone
Ronnie Cuber - baritone saxophone
Don Grolnick - electric piano, clavinet
Steve Khan - rhythm guitar
Will Lee - electric bass
Andy Newmark - drums
Carlos Charles - conga, percussion
Sue Evans - percussion
Dave Matthews - arranger, conductor
Passage 7:
It's What's Happenin'
It's What's Happenin' (subtitled The Varitone Sound of Clark Terry) is an album by American jazz trumpeter Clark Terry featuring performances recorded in 1967 for the Impulse! label   Remastered in 2012 to commemorate the 50th anniversary of Impulse! Records, it was reissued together with Terry's only other record for the label as a solo leader, The Happy Horns of Clark Terry 

Reception
The Allmusic review by Richard S  Ginell awarded the album 3 stars stating "Not many will bother to recall that Clark Terry was the first trumpeter to make a recording with Selmer's Varitone attachment -- an electronic hookup to an amplifier that allowed a horn player to play octaves  Though the instrument quickly fell out of favor after a very brief vogue, it still produced an attractively soulful sound that was a good fit with Terry's jaunty, slurry, note-bending manner    there is nothing unmusically sensational about anything that happens here " 

Track listing
All compositions by Clark Terry except where noted 

"Electric Mumbles" - 3:51
"Secret Love" (Paul Francis Webster, Sammy Fain) - 6:15
"Take Me Back to Elkhart" - 7:11
"Take the "A" Train" (Billy Strayhorn) - 5:03
"Tee Pee Time" - 6:25
"Grand Canyon Suite" (Ferde Grofé) - 7:05

Personnel
Clark Terry - Varitone trumpet
Don Friedman - piano
George Duvivier - bass
Dave Bailey - drums
Passage 8:
Foolin' Myself
Foolin' Myself is an album of trio performances by the American jazz pianist Jaki Byard recorded in 1988 and released on the Italian Soul Note label 

Reception
The Allmusic review by Ken Dryden awarded the album 2+1⁄2 stars, stating "While the pianist's technique is impressive as always, his songs are not as strong as on many of his other releases" 

Track listing
All compositions by Jaki Byard except as indicated"Suite 27: Waterfalls, Highways, Skyways, Waterways" - 5:11
"Oslo to Kristiansund to Malmo" - 3:10
"Searchlight No  2" - 9:22
"Stage I / Stage II" - 4:17
"Breath" (Ralph Hamperian) - 8:27
"Foolin' Myself" (Jack Lawrence, Peter Tinturin) - 3:50
"Land of Love" - 6:36Recorded at Sound Ideas Studios in New York City on August 25, 1988

Personnel
Jaki Byard – piano
Ralph Hamperian - bass
Richard Allen - drums
Passage 9:
Three for Shepp
Three for Shepp is an album by American saxophonist Marion Brown featuring performances recorded in 1966 for the Impulse! label 

Reception
The Allmusic review by Thom Jurek awarded the album 4½ stars, stating: "Marion Brown's Three for Shepp is the image-in-the-mirror companion to Archie Shepp's Four for Trane recorded the year before  The program is equally divided between Brown's originals, which occupy the first half of the album, and Shepp tunes that take up the latter half  What is immediately striking is how similar in tone, color, and texture the two men were when it came to composition  Brown arms himself here with crack bands for these recordings    This is a classic Impulse! recording of the period by an overlooked master "The authors of the Penguin Jazz Guide wrote: "Brown's Impulse! records are routinely overlooked    In the wake of this, his first successful record, Brown took to the road, playing tirelessly but curbing his studio activities  Impulse! had already released Shepp's Four For Trane  This was explicitly intended as a companion project and its arresting opening    establishes it as one of the most inventive in the label's distinguished catalogue    Brief as it is at just 35 minutes, Three For Shepp is so densely packed with musical information that it takes many, many listens to deconstruct: a living lesson in musical history, a passionate manifesto for the future "A reviewer at SoundOhm included the album in the "Best of 2019" playlist, and stated: "Three For Shepp balances fiery energy and delicate precision    Even this early in his career, Brown stood apart from his peers in "the new thing " His solos were as gentle as they were furious  Informed by the African American folk traditions of his native Georgia and an enthusiastic embrace of the avant-garde, his music would confront and challenge society  As Brown says in the original liner notes, 'The music is definitely a part of what's going on in the black revolution in America '  Three For Shepp still sounds crucial today (over 50 years later) and remains a vital statement of jazz's past, present and future "

Track listing
All compositions by Marion Brown except as noted

"New Blue" - 5:11
"Fortunato" - 8:54
"The Shadow Knows" - 3:04
"Spooks" (Archie Shepp) - 4:32
"West India" (Shepp) - 6:24
"Delicado" (Shepp) - 6:38

Personnel
Marion Brown - alto saxophone
Grachan Moncur III - trombone
Dave Burrell (tracks 1-3), Stanley Cowell (tracks 4-6) - piano
Norris Jones - bass
Bobby Capp (tracks 1-3), Beaver Harris (tracks 4-6) – drums
Passage 10:
Benny Golson's New York Scene
Benny Golson's New York Scene is the debut album by saxophonist Benny Golson featuring performances recorded in late 1957 and originally released on the Contemporary label 

Reception
John S  Wilson's contemporaneous review was positive, noting that both quintet and nonet bands feature "Farmer playing with broad authority no matter what the fare at hand while Golson's warm, dark lines flare and glide through all the pieces " Scott Yanow of Allmusic stated, "this underrated gem served as a strong start to Benny Golson's influential solo career" 

Track listing
All compositions by Benny Golson except as indicated "Something in B flat" (Ray Bryant) - 6:04
"Whisper Not" - 6:01
"Step Lightly" - 6:54
"Just by Myself" - 4:12
"Blues It" - 6:52
"You're Mine, You" (Johnny Green, Edward Heyman) - 4:22
"Capri" (Gigi Gryce) - 3:59
"B G 's Holiday" - 5:34 Bonus track on CD

Personnel
Benny Golson - tenor saxophone
Art Farmer - trumpet
Jimmy Cleveland - trombone  (tracks 2, 4 & 7)
Julius Watkins - French horn (tracks 2, 4 & 7)
Gigi Gryce - alto saxophone (tracks 2, 4 & 7)
Sahib Shihab - baritone saxophone (tracks 2, 4 & 7)
Wynton Kelly - piano
Paul Chambers - bass
Charlie Persip - drums
Passage 11:
Tarot Classics
Tarot Classics is an EP by Florida-based indie rock band Surfer Blood released on October 25, 2011, on Kanine Records  It is their last release for Kanine 

Reception
Tarot Classics received generally favorable reviews from music critics 

Track listing
All songs written by John Paul Pitts, Thomas Fekete, Tyler Schwarz and Kevin Williams, except as noted 

I'm Not Ready (John Paul Pitts, Thomas Fekete, Tyler Schwarz)
Miranda
Voyager Reprise
Drinking Problem
Voyager Reprise (Another Summer of Love Remix)
Drinking Problem (Speculator Remix)
Passage 12:
Soundsigns
Soundsigns is an album by the American jazz saxophonist Dewey Redman of performances recorded in 1978 for the Galaxy label 

Reception
The Allmusic review by Scott Yanow awarded the album 3 stars stating "Recorded at the same sessions that resulted in Musics, this LP (which has not yet been reissued on CD) is actually more exploratory" 

Track listing
All compositions by Redman except as indicated"Piece for Tenor and Two Basses"  - 8:23
"Half Nelson" (Miles Davis) - 10:07
"Adesso Lo Sai" - 13:59
"Come Earth" - 8:00Recorded at Fantasy Studios in Berkeley, California on October 18 & 19, 1978

Personnel
Dewey Redman - tenor saxophone (tracks 1-3), harp (track 4)
Fred Simmons - piano (tracks 2 & 3)
Charlie Haden (tracks 1 & 4), Mark Helias - bass
Eddie Moore - drums, saw, cymbal (tracks 2-4)
Passage 13:
Tijuana Jazz
Tijuana Jazz is an album by American jazz vibraphonist Gary McFarland and trumpeter Clark Terry featuring performances recorded in 1965 for the Impulse! label  The album was also released in the UK on the HMV label as CLP3541 

Reception
The AllMusic review by Scott Yanow awarded the album 3 stars stating: "McFarland's arrangements are fine, but the solos are quite short, and the Mexican-flavored music is not particularly memorable  A blown opportunity" 

Track listing
All compositions by Gary McFarland except as indicated"South of the Border" (Jimmy Kennedy, Michael Carr) - 2:06
"Acapulco at Night" - 2:52
"Fantastic, That's You" (George Cates, George Douglas) - 2:54
"Limehouse Blues" (Philip Braham, Douglas Furber) - 3:37
"Tijuana" (Cates, Douglas) - 2:09
"Marcheta" (Victor Schertzinger) - 2:55
"Granny's Samba" - 3:30
"Soul Bird (Tin Tin Deo)" (Gil Fuller, Chano Pozo) - 4:01
"Mexicali Rose" (Jack Tenney, Helen Stone) - 2:27
"Ira Schwartz's Golden Dream" - 3:32
"Mary Jane" - 3:05
"Sweet Georgia Brown" (Ben Bernie, Kenneth Casey, Maceo Pinkard) - 2:06Recorded in New York City on December 3, 1965 (tracks 1, 2, 6 & 9), December 6, 1965 (tracks 4, 8, 11 & 12), and December 7, 1965 (tracks 3, 5, 7 & 10)

Personnel
Gary McFarland – marimba, electric piano
Joe Newman, Clark Terry - trumpet, flugelhorn
Bob Brookmeyer – valve trombone
Toots Thielemans - harmonica, guitar
Barry Galbraith - guitar
Bob Bushnell – electric bass
Mel Lewis, Grady Tate – drums
Passage 14:
More Blues and the Abstract Truth
More Blues and the Abstract Truth is an album by American jazz composer, conductor and arranger Oliver Nelson featuring performances recorded in 1964 for the Impulse! label 

Reception
The Allmusic review by Scott Yanow awarded the album 4 stars, stating: "Unlike the original classic Blues and the Abstract Truth set from three years earlier, Oliver Nelson does not play on this album  He did contribute three of the eight originals and all of the arrangements but his decision not to play is disappointing    The emphasis is on blues-based pieces and there are some strong moments even if the date falls short of its predecessor" 

Track listing
All compositions by Oliver Nelson except as noted

"Blues and the Abstract Truth" - 5:14
"Blues O'Mighty" (Hodges) - 6:48
"Theme from Mr  Broadway" (Brubeck) - 5:45
"Midnight Blue" (Neal Hefti) - 4:06
"The Critic's Choice" - 2:21
"One for Bob" - 6:07
"Blues for Mr  Broadway" (Brubeck) - 8:12
"Goin' to Chicago Blues" (Count Basie, Jimmy Rushing) - 4:37
"One for Phil" - 3:58 Bonus track on CD reissue
"Night Lights" (Arnold Shaw) - 2:46 Bonus track on CD reissueRecorded on November 10, 1964 (tracks 4 & 6–9), and November 11, 1964 (tracks 1–3, 5 & 10) 

Personnel
Oliver Nelson - arranger, conductor
Thad Jones, Danny Moore (tracks 1 & 5) - trumpet
Phil Woods - alto saxophone
Ben Webster - tenor saxophone (tracks 4 & 7)
Phil Bodner - tenor saxophone, English horn
Pepper Adams - baritone saxophone
Roger Kellaway - piano
Richard Davis – bass
Grady Tate – drums
Passage 15:
Groovin' with Golson
Groovin' with Golson is the sixth album by saxophonist Benny Golson featuring performances recorded in 1959 and originally released on the New Jazz label 

Reception
The Allmusic review by Scott Yanow states, "the hard bop music does indeed groove in its own fashion" 

Track listing
All compositions by Benny Golson except where noted 

"My Blues House" - 9:25
"Drum Boogie" (Roy Eldridge, Gene Krupa) - 3:59
"I Didn't Know What Time It Was" (Richard Rodgers, Lorenz Hart) - 5:25
"The Stroller" - 9:18
"Yesterdays" (Jerome Kern, Otto Harbach) - 5:54

Personnel
Benny Golson - tenor saxophone
Curtis Fuller - trombone
Ray Bryant - piano
Paul Chambers - bass
Art Blakey - drums
Passage 16:
At the Village Vanguard
At the Village Vanguard (subtitled You Took the Words Right Out of My Heart) is a live album by jazz drummer Paul Motian recorded at the Village Vanguard and originally released on the German JMT label  Recorded in 1995 it features performances by Motian with guitarist Bill Frisell and tenor saxophonist Joe Lovano  The album was rereleased on the Winter & Winter label in 2005 

Reception
The Allmusic review by Thom Jurek awarded the album 3½ stars, stating: "This is a prime Motian date, not to be missed this time around" 

Track listing
All compositions by Paul Motian except as indicated

"You Took the Words Right Out of My Heart" (Ralph Rainger, Leo Robin) - 7:58
"Abacus" - 9:38
"Folk Song for Rosie" - 10:19
"The Owl of Cranston" - 8:30
"5 Miles to Wrentham" - 4:46
"Yahllah" - 14:16
"The Sunflower" - 8:33
"Circle Dance" - 5:04Recorded at the Village Vanguard in New York City in June 1995

Personnel
Paul Motian - drums
Bill Frisell - electric guitar
Joe Lovano - tenor saxophone
Passage 17:
Thinking of Home
Thinking of Home is an album by jazz saxophonist Hank Mobley recorded on July 31, 1970 but not released by the Blue Note label until 1980  It features performances by Mobley with trumpeter Woody Shaw, pianist Cedar Walton, guitarist Eddie Diehl, bassist Mickey Bass, and drummer Leroy Williams  This was Mobley's 26th (and final) recording for Blue Note 

Reception
Allmusic awarded the album 4½ stars and the review by Scott Yanow stated "It is only fitting that Hank Mobley would record one of the last worthwhile Blue Note albums before its artistic collapse (it would not be revived until the 1980s) for his consistent output helped define the label's sound in the 1960s" On All About Jazz Richton Guy Thomas said "this is a fitting farewell session  It features the powerful trumpet playing of Woody Shaw and the exciting pianist Cedar Walton  Hank Mobley's playing has a fire that ought to remind you of the Jazz Messengers, as it should since he was one of the original members of the group     Thinking of Home should remind diehard jazz fans (and enlighten those newer to the genre) that Mobley was an innovative and stimulating tenor saxophonist who consistently swung" 

Track listing
All compositions by Hank Mobley except where noted

"Suite: Thinking of Home/The Flight/Home at Last" - 10:06
"Justine" - 13:04
"You Gotta Hit It" - 5:34
"Gayle's Groove" (Mickey Bass) - 5:33
"Talk About Gittin' It" - 8:38

Personnel
Hank Mobley — tenor saxophone
Woody Shaw — trumpet
Cedar Walton — piano
Eddie Diehl — guitar
Mickey Bass — bass
Leroy Williams — drums
Passage 18:
Opus de Jazz
Opus de Jazz (subtitled A Hi-Fi Recording for Flute, Vibes, Piano, Bass, Drums) is an album by American jazz vibraphonist Milt Jackson featuring performances recorded in 1955 and released on the Savoy label 

Reception
The AllMusic review by Scott Yanow stated: "This is not essential, but it is enjoyable music "

Track listing
"Opus de Funk" (Horace Silver) – 13:28
"Opus Pocus" (Ozzie Cadena) – 7:25
"You Leave Me Breathless" (Ralph Freed, Frederick Hollander) – 6:27
"Opus and Interlude" (Cadena) – 6:30Recorded in New York City on October 28, 1955

Personnel
Milt Jackson – vibes
Frank Wess – tenor saxophone, track 2; flute, tracks 1, 3 and 4
Hank Jones – piano
Eddie Jones – bass
Kenny Clarke – drums
Passage 19:
The Jazz Skyline
The Jazz Skyline is an album by American jazz vibraphonist Milt Jackson featuring performances recorded in 1956 and released on the Savoy label 

Reception
The Allmusic review by Bob Rusch states: "This session has interest as an example of Milt Jackson's mid-'50s work in a non-Modern Jazz Quartet context  And despite the many critical assertions that the vibist was restrained by pianist John Lewis' direction, his playing here revealed no marked change" 

Track listing
"Lover" (Lorenz Hart, Richard Rodgers) - 7:45
"Can't Help Lovin' Dat Man" (Oscar Hammerstein II, Jerome Kern) - 4:35
"The Lady Is a Tramp" (Hart, Rodgers) - 7:18
"Angel Face" (Hank Jones) - 6:38
"Sometimes I'm Happy" (Irving Caesar, Vincent Youmans) - 7:15
"What's New?" (Johnny Burke, Bob Haggart) - 3:51

Personnel
Milt Jackson – vibes
Lucky Thompson - tenor saxophone
Hank Jones - piano
Wendell Marshall - bass
Kenny Clarke – drums
Passage 20:
Jazz Contemporary
Jazz Contemporary is an album by American jazz trumpeter Kenny Dorham featuring performances recorded in 1960 and released on the Time label  The album features the recording debut of pianist Steve Kuhn 

Reception
The Allmusic review by Scott Yanow awarded the album 2½ stars and stated "The results are not quite essential but everyone plays up to par    It's fine hard bop, the modern mainstream music of the period" 

Track listing
All compositions by Kenny Dorham except as indicated"A Waltz" - 5:34
"Monk's Mood" (Thelonious Monk) - 8:09
"In Your Own Sweet Way" (Dave Brubeck) - 8:01
"Horn Salute" - 8:27
"Tonica" - 2:57
"This Love of Mine" (Sol Parker, Henry W  Sanicola Jr , Frank Sinatra) - 6:49Bonus tracks on CD reissue:

"Sign Off" - 5:29
"A Waltz" [alternate take] - 5:36
"Monk's Mood" [alternate take] (Monk) - 2:53
"This Love of Mine" [alternate take] (Parker, Sanicola, Sinatra) - 7:55Recorded on February 11 (tracks 2, 3, 7, 8, 10) and February 12, 1960 (tracks 1, 4-6, 9) 

Personnel
Kenny Dorham - trumpet
Charles Davis - baritone saxophone
Steve Kuhn - piano
Jimmy Garrison (tracks 2, 3, 7, 8 & 10), Butch Warren (tracks 1, 4-6 & 9)  - bass
Buddy Enlow - drums
Context 2: Passage 1:
Fire Over England
Fire Over England is a 1937 London Film Productions film drama, notable for providing the first pairing of Laurence Olivier and Vivien Leigh  It was directed by William K  Howard and written by Clemence Dane from the 1936 novel Fire Over England by AEW Mason  Leigh's performance in the film helped to convince David O  Selznick to cast her as Scarlett O'Hara in his 1939 production of Gone with the Wind  The film is a historical drama set during the reign of Elizabeth I focusing on England's victory over the Spanish Armada 

Plot
During the reign of Queen Elizabeth I, England is concerned by the impending arrival of the Spanish Armada  In 1588, relations between Spain and England are at breaking point  With the support of Queen Elizabeth I (Flora Robson), English privateers such as Sir Francis Drake regularly capture Spanish merchantmen bringing gold from the New World 
Elizabeth's chief advisers are the Lord Treasurer, Lord Burleigh (Morton Selten), and her longtime admirer, Robert Dudley, Earl of Leicester (Leslie Banks)  Burleigh's 18-year-old granddaughter Cynthia (Vivien Leigh) is one of Elizabeth's ladies-in-waiting, and the ageing queen is plagued by jealousy of the girl's beauty and vivacity 
In a sea battle between the Spanish, led by Don Miguel (Robert Rendel), and the English, led by his old friend Sir Richard Ingolby (Lyn Harding) the English are captured  Miguel allows Richard's son Michael (Laurence Olivier) to escape  Michael swims ashore on Miguel's estate, and his wounds are tended to by Miguel's daughter Elena (Tamara Desni), who quickly becomes enamoured of the handsome Englishman, despite her being engaged to marry  As the months pass, Michael recovers and laments being apart from Cynthia, his sweetheart, but is nonetheless impressed by Elena's charms 
Miguel brings Michael the sad news that Sir Richard, his father, has been executed as a heretic  The grieving Michael denounces his rescuers and flees to England in a small fishing boat  When he is granted an audience with the Queen he urges her to fight the Spanish menace by whatever means necessary, and swears undying loyalty to her  Elizabeth is flattered by the young man's fervent devotion and later has an opportunity to take advantage of his offer of service when Hillary Vane (James Mason), an Englishman spying for Spain, is killed before the names of his English co-conspirators can be uncovered 
Michael, disguised as Vane, goes to the court of King Philip II of Spain (Raymond Massey) to get the letters that will set into motion a plan to assassinate Elizabeth  At the palace Michael meets Elena   Her father has been killed by the English and she is now married to Don Pedro (Robert Newton), the palace governor  Elena keeps Michael's identity a secret as long as she can, but finally must tell her husband out of loyalty to him 
Philip sees through Michael's disguise and orders his arrest  Pedro helps him escape so that it will not be discovered that his wife aided a heretic  While Michael is returning home, the Spanish Armada sails against England and Elizabeth addresses her army at Tilbury  Michael meets her there and reveals the names of the traitors  Elizabeth knights Michael before confronting the six traitors, inviting them to fulfill their plot and kill her  Overwhelmed with shame, they agree to accompany Michael on a mission to deploy fire ships in a night attack on the Armada, massed off the coast of England 
The tactic succeeds, and Elizabeth allows Michael and Cynthia to marry 

Cast
Production
With the working title of Glorianna, principal photography took place at Denham Studios, where a large water tank was used to launch the model ships representing the Spanish Armada and the English naval defenders  Originally Conrad Veidt was to star, but Alexander Korda saw the production as a star vehicle for Vivien Leigh, who was under contract to Korda  Along with the historical drama that was portrayed, Fire Over England was also a costume romance that served to showcase Leigh and Olivier, a real-life romantic couple 

The Lion Has Wings
A portion of the film, including the beacons being lit on the English coast, and an armour-clad Queen Elizabeth giving her speech to the surrounding soldiers at Tilbury before the Battle of Gravelines, was used in the 1939 World War II propaganda documentary The Lion Has Wings  It is used to compare the Spanish invasion attempt to a Nazi invasion, demonstrating how Great Britain had survived against great odds in the past, and would again 

Reception
Fire Over England was the first British film to have its US premiere at Los Angeles  Overall, the picture garnered positive reviews  In the review in Variety, the comment was "This is a handsomely mounted and forcefully dramatic glorification of Queen Bess  It holds a succession of brilliantly played scenes, a wealth of choice diction, pointed excerpts from English history and a series of impressive tableaux " Writing for The Spectator in 1937, Graham Greene gave the film a mixed review, acknowledging it as "well-directed and lavish", but criticizing its lack of historical realism  Greene stated that "the sets are magnificent" and that "the acting is far better than we are accustomed to in English films", but considered the production to have "strayed out of history" and called certain scenes "absurd" and "embarrassing"  The League of Nations Committee on Motion Pictures awarded the 1937 Cinema Medal of Honor to Fire Over England 

See also
List of films in the public domain in the United States
Passage 2:
Airplay (band)
Airplay was a short-lived American band, formed by David Foster and Jay Graydon  The band released a self-titled album in 1980, containing "Nothin' You Can Do About It" (originally recorded by The Manhattan Transfer) and the original recording of the Earth, Wind & Fire hit "After the Love Has Gone", written by Foster and Graydon with Bill Champlin 
Graydon was asked about Airplay in a 2014 interview:
Did you guys ever envision Airplay becoming a full-time, touring type of band?
David wanted to tour and I didn't  A dumb move on my part 

Personnel
Principal members
Jay Graydon – vocals, guitar
David Foster – keyboards, background vocals
Tommy Funderburk – vocals

Backing musicians
Toto membersJeff Porcaro – drums
David Hungate – bass
Steve Lukather – additional rhythm guitars
Steve Porcaro – synthesizer programmingOthersWarren Wiebe
Mike Baird – drums
Ray Parker Jr  – additional rhythm guitars
Pete Robinson – synthesizer programming
Jerry Hey – trumpet & flugelhorn
Gary Grant – trumpet
Steve Madaio – trumpet
Bill Reichenbach Jr  – trombone
Charlie Loper – trombone
Lew McCreary – tromboneBackground vocalsBill Champlin
Tom Kelly
Max Gronenthal

Discography
Studio albums
Airplay (1980)

Singles
"Stranded" (1980)
"Nothin' You Can Do About It" (1980)
"Should We Carry On" (1981)
"Stressed Out (Close to the Edge)" in St  Elmo's Fire soundtrack (1985)
Passage 3:
Darlings of the Gods
Darlings of the Gods is a 1989 Australian mini series about the 1948 trip to Australia by Laurence Olivier and Vivien Leigh and the Old Vic Company, where Olivier and Leigh met Peter Finch 

Cast
Anthony Higgins - Laurence Olivier
Mel Martin - Vivien Leigh
Jerome Ehlers - Peter Finch
Rhys McConnochie - Ralph Richardson
Anthony Hawkins - Cecil Tennant
Barry Quin - Dan Cunningham
Jackie Kelleher - Elsie Beyer
Lindy Davies - Antonia Vaughan
Nicki Paull - June Kelly
Shane Briant - Cecil Beaton

Home Media
Not Currently Available on DVD
Passage 4:
Macbeth (1948 film)
Macbeth is a 1948 American historical drama directed by Orson Welles  A film adaptation of William Shakespeare's tragedy of the same name, it tells the story of the Scottish general who becomes the King of Scotland through treachery and murder  The film stars Welles in the lead role and Jeanette Nolan (in her feature film debut) as Lady Macbeth 

Plot
In the Middle Ages, Macbeth and Banquo are approached by the Three Witches  They address Macbeth, hailing him as the "Thane of Cawdor" and the future king of Scotland  King Duncan's men arrive and congratulate Macbeth of his victory, awarding him the title of Thane of Cawdor  Macbeth sends a letter to his wife about the Three Witches' prophecy, in which she questions whether Macbeth is capable of murdering Duncan  
Duncan welcomes and praises Macbeth, declaring he will spend the night at Macbeth's castle  Later that night, Macbeth expresses discomfort with killing Duncan  Lady Macbeth overrides her husband's objections by challenging his manhood and persuades him to kill Duncan  Offscreen, Macbeth murders Duncan but returns back to his wife with the daggers  When Duncan is found dead, Macbeth frames Duncan's two servants by placing the bloody daggers on them  Remembering the prophecy, Banquo is suspicious of Macbeth's potential role in murdering Duncan  Returning to his wife, Macbeth expresses his guilt and he proclaims he will never be able to sleep again  
Duncan's sons Malcolm and Donalbain have fled, in which Macbeth is crowned the new king of Scotland  Worried that Banquo's descendants would rule Scotland, Macbeth invites Banquo to a royal banquet  He sends two men to successfully murder Banquo, but his son Fleance escapes  At the banquet, Macbeth becomes haunted after seeing Banquo's ghost  The others panic at Macbeth raging at an empty chair, until a desperate Lady Macbeth tells them that her husband is merely afflicted with a harmless malady  
Enraged, Macbeth is warned by the Three Witches to beware of Macduff, who has fled to England  Macbeth frames Macduff as a traitor and sends soldiers to kill him  When the soldiers arrive at Macduff's castle, everyone is put to death, including Lady Macduff and their young son  Back in England, Ross informs Macduff that his family has been killed, to which Macduff swears revenge  Together, with Malcolm and Donalbain, they return to Scotland with a massive army to wage war against Macbeth  
Back in Scotland, Macbeth learns of the approaching English army and has a doctor tend to Lady Macbeth, who is suffering from hallucinations  Wracked with guilt over the murders, Lady Macbeth sleepwalks throughout the castle and falls over a steep cliff to her death  Shortly after, the English army invade, covering themselves by cutting down tree branches  They storm the castle, where Macduff battles Macbeth in a sword fight  Macduff beheads Macbeth, and Ross presents the crown to Malcolm 

Production
In 1947, Orson Welles began promoting the notion of bringing a Shakespeare drama to the motion picture screen  He initially attempted to pique Alexander Korda's interest in an adaptation of Othello, but was unable to gather support for the project  Welles switched to pushing for a film adaptation of Macbeth, which he visualized in its violent setting as "a perfect cross between Wuthering Heights and Bride of Frankenstein "Teaming with producer Charles K  Feldman, Welles successfully convinced Herbert Yates, founder and president of Republic Pictures, of the prospect of creating a film version of Macbeth  Yates was attempting to raise the level of his studio, which produced Roy Rogers Westerns and low-budget features, into that of a prestige studio  Republic had already tried to present off-beat features, including Gustav Machatý's Jealousy (1945) and Ben Hecht's Specter of the Rose (1946) However, Yates was not able to provide Welles with a large budget  Welles guaranteed to deliver a completed negative of Macbeth on a budget of $700,000  When some members of the Republic board of directors expressed misgivings on the project, Welles had a contract drawn in which he agreed to personally pay any amount over $700,000 Welles had previously staged the so-called Voodoo Macbeth in 1936 in New York City with an all-black cast, and again in 1947 in Salt Lake City as part of the Utah Centennial Festival  He borrowed aspects from both productions for his film adaptation Macbeth marked the fourth time that a post-silent era Hollywood studio produced a film based on a Shakespeare play: United Artists had produced The Taming of the Shrew in 1929, Warner Brothers made A Midsummer Night’s Dream in 1935, and Metro-Goldwyn-Mayer produced Romeo and Juliet in 1936  None of these films was commercially successful, but the commercial and critical prestige earned by Laurence Olivier's film version of Henry V (which was produced in Great Britain in 1944 but not seen in the U S  until 1946) helped to propel Welles' Macbeth forward 

Casting
Welles cast himself in the title role, but was initially stymied in casting Lady Macbeth, regarded by Republic as the focus of the film  His first choice was Vivien Leigh, but Welles never approached her since he believed her husband, Laurence Olivier, would be unsupportive  The role was offered to Tallulah Bankhead, who turned it down  At Welles's request Anne Baxter, Mercedes McCambridge and Agnes Moorehead were approached but they were unavailable  "There is no evidence to suggest that these rejections were much of a blow to Welles," wrote biographer Frank Brady  Welles settled on Jeanette Nolan, one of the Mercury Theatre's repertory players on radio and a trusted colleague since their days on The March of Time radio program Welles brought in Irish actor Dan O'Herlihy in his first U S  film role as Macduff, and cast former child star Roddy McDowall as Malcolm  Welles also cast his daughter Christopher in the role of Macduff's son; this was her only film appearance 

Cast
The cast of Macbeth is listed in the AFI Catalog of Feature Films 

Adaptation
In bringing Macbeth to the screen, Welles made several changes to Shakespeare's original  He added sequences involving the witches to increase their significance  At the beginning of the film, they create a clay figurine of Macbeth, which is used to symbolize his rise and ruin  It collapses in a heap, seemingly of its own volition, immediately after Macbeth is beheaded  The witches seem to cast a spell on the doll, and anything that happens to it seems to happen also to Macbeth, as in voodoo  The witches also return at the end of the film, viewing the drama from afar and uttering  "Peace, the charm's wound up" as the final line; this line is spoken in the first act in the original text, when the witches initially confront Macbeth Because of censorship, the Porter's speech was shorn of all its double entendre A major change is Welles' introduction of a new character, the Holy Man  The priest recites the prayer of Saint Michael  Welles later explained that the character's presence was meant to confirm that "the main point of that production is the struggle between the old and new religions  I saw the witches as representatives of a Druidical pagan religion suppressed by Christianity – itself a new arrival " There is a subtle insinuation that Lady Macbeth fatally stabs Duncan prior to Macbeth's attack on the king, and Macbeth is witness to Lady Macbeth's sleepwalking and madness scene; in the play, he is not present 

Filming
The film was shot on sets left over from the westerns that were normally made at Republic Studios  In order to accommodate the tight production schedule, Welles had the Macbeth cast pre-record their dialogue Welles later expressed frustration with the film's low budget trappings  Most of the costumes were rented from Western Costume, except those for Macbeth and Lady Macbeth  "Mine should have been sent back, because I looked like the Statue of Liberty in it," Welles told filmmaker Peter Bogdanovich  "But there was no dough for another and nothing in stock at Western would fit me, so I was stuck with it "Welles also told Bogdanovich that the scene he felt was most effective was actually based on hunger  "Our best crowd scene was a shot where all the massed forces of Macduff's army are charging the castle", he said  "There was a very vivid urgency to it, because what was happening, really, was that we'd just called noon break, and all those extras were rushing off to lunch "Welles shot Macbeth in 23 days, with one day devoted to retakes 

Release and reception
Republic initially planned to have Macbeth in release by December 1947, but Welles was not ready with the film  The studio entered the film in the 1948 Venice Film Festival, but it was abruptly withdrawn when it was compared unfavorably against Olivier's version of Hamlet, which was also in the festival's competition In the U S  theatrical release, Republic tested the film in a few cities  Critical reaction was overwhelmingly negative, with complaints about Welles's decision to have his cast speak in Scottish burrs and modify the original text After its original release, Republic had Welles cut two reels from the film and ordered him to have much of the soundtrack re-recorded with the actors speaking in their natural voices, and not the approximation of Scottish accents that Welles initially requested  This new version was released by Republic in 1950  While critical reaction was still not supportive, the film earned a small profit for the studio Welles would maintain mixed emotions about Macbeth  In a 1953 lecture at the Edinburgh Fringe Festival, he said: "My purpose in making Macbeth was not to make a great film – and this is unusual, because I think that every film director, even when he is making nonsense, should have as his purpose the making of a great film  I thought I was making what might be a good film, and what, if the 23-day day shoot schedule came off, might encourage other filmmakers to tackle difficult subjects at greater speed  Unfortunately, not one critic in any part of the world chose to compliment me on the speed  They thought it was a scandal that it should only take 23 days  Of course, they were right, but I could not write to every one of them and explain that no one would give me any money for a further day's shooting       However, I am not ashamed of the limitations of the picture "The truncated version of Macbeth remained in release until 1980, when the original uncut version with the Scottish-tinged soundtrack was restored by the UCLA Film and Television Archive and the Folger Shakespeare Library  On Rotten Tomatoes, the film has an approval rating of 87% based on 30 reviews, with an average rating of 7 4/10  The site's critics' consensus reads: "This haunting, eccentric Macbeth may be hampered by budget constraints, but Orson Welles delivers both behind and in front of the camera "
Passage 5:
Loew's Grand Theatre
Loew's Grand Theater, originally DeGive's Grand Opera House, was a movie theater at the corner of Peachtree and Forsyth Streets in downtown Atlanta, Georgia, in the United States  It was most famous as the site of the 1939 premiere of Gone with the Wind, which was attended by most of the stars of the film 
It concentrated on showing films made or released by Metro-Goldwyn-Mayer (MGM), a Loews-owned studio, even boasting a sign under its marquee proclaiming it "The Home of Metro-Goldwyn-Mayer Pictures"   Although the United States v  Paramount Pictures, Inc  case divested studios of ownership of theater chains in 1948, many MGM films made afterward still had their first showings in Atlanta at this theater, including Singin' in the Rain, the 1959 Ben-Hur and Doctor Zhivago 
The theater was built as DeGive's Grand Opera House in 1893 by entrepreneur and Belgian consul Laurent DeGive, and hosted many concerts and touring opera productions  It is often confused with DeGive's first opera house, which opened in 1870 four blocks south, at the corner of Marietta and Forsyth streets  The confusion is understandable, as DeGive had his name carved prominently above the entrance of the Grand Theater 

The Grand was bought by the Loews organization in 1927 and renovated into a movie theater by architect Thomas W  Lamb  The one-screen theater had 2,088 seats  It was extensively damaged as the result of a fire on January 30, 1978  Although the real estate where the theater had stood was of high value, the theater could not be demolished because of its historic status  This led many to speculate that the cause of the fire was arson, although this speculation has never been proven  The Georgia-Pacific Tower was built on the former site of the theater 
Bricks from the building were recycled and used to build a popular Atlanta restaurant, Houston's which features a plaque of remembrance of the theater in the waiting area of its original location five miles north, at 2166 Peachtree  A chandelier from the building now hangs prominently at the center of The Tabernacle, a church turned concert venue in Atlanta 
Passage 6:
Gone with the Wind (film)
Gone with the Wind is a 1939 American epic historical romance film adapted from the 1936 novel by Margaret Mitchell  The film was produced by David O  Selznick of Selznick International Pictures and directed by Victor Fleming  Set in the American South against the backdrop of the American Civil War and the Reconstruction era, the film tells the story of Scarlett O'Hara (Vivien Leigh), the strong-willed daughter of a Georgia plantation owner, following her romantic pursuit of Ashley Wilkes (Leslie Howard), who is married to his cousin, Melanie Hamilton (Olivia de Havilland), and her subsequent marriage to Rhett Butler (Clark Gable) 
Gone with the Wind film had a troubled production  The start of filming was delayed for two years until January 1939 because of Selznick's determination to secure Gable for the role of Rhett, and concluded the following July  The role of Scarlett was difficult to cast, and 1,400 unknown women were interviewed for the part  Sidney Howard's original screenplay underwent many revisions by several writers to reduce it to a suitable length  The original director, George Cukor, was fired shortly after filming began, and was replaced by Fleming, who in turn was briefly replaced by Sam Wood while taking some time off due to exhaustion  Post-production concluded in November 1939, just a month before its premiere 
It received generally positive reviews upon its release on December 15, 1939  While the casting was widely praised, the long running time received criticism  At the 12th Academy Awards, Gone with the Wind received ten Academy Awards (eight competitive, two honorary) from thirteen nominations, including wins for Best Picture, Best Director (Fleming), Best Adapted Screenplay (posthumously awarded to Sidney Howard), Best Actress (Leigh), and Best Supporting Actress (Hattie McDaniel, becoming the first African American to win an Academy Award)  It set records for the total number of wins and nominations at the time 
Gone with the Wind was immensely popular when first released  It became the highest-earning film made up to that point, and held the record for over a quarter of a century  When adjusted for monetary inflation, it is still the highest-grossing film in history  It was re-released periodically throughout the 20th century and became ingrained in popular culture  Although the film has been criticized as historical negationism, glorifying slavery and the Lost Cause of the Confederacy myth, it has been credited with triggering changes in the way in which African Americans were depicted cinematically  Gone with the Wind is regarded as one of the greatest films of all time, and in 1989 became one of the twenty-five inaugural films selected for preservation in the United States National Film Registry 

Plot
In 1861, on the eve of the American Civil War, Scarlett O'Hara lives at Tara, her family's cotton plantation in Georgia, with her parents, two sisters, and their many black slaves  Scarlett is deeply attracted to Ashley Wilkes and learns he is to be married to his cousin, Melanie Hamilton  At an engagement party the next day at Ashley's home, Twelve Oaks, a nearby plantation, Scarlett makes an advance on Ashley but is rebuffed; however, she catches the attention of another guest, Rhett Butler  The party is disrupted by news of President Lincoln's call for volunteers to fight the South, and the Southern men rush to enlist  Scarlett marries Melanie's younger brother Charles to arouse jealousy in Ashley before he leaves to fight  Following Charles's death while serving in the Confederate States Army, Scarlett's mother sends her to the Hamilton home in Atlanta  She creates a scene by attending a charity bazaar in mourning attire and waltzing with Rhett, now a blockade runner for the Confederacy 
The tide of war turns against the Confederacy after the Battle of Gettysburg  Many of the men of Scarlett's town are killed  Eight months later, as the Union Army besieges the city in the Atlanta campaign, Melanie gives birth with Scarlett's aid, and Rhett helps them flee the city  Rhett chooses to go off to fight, leaving Scarlett to make her own way back to Tara  She finds Tara deserted, except for her father, sisters, and former slaves, Mammy and Pork  Scarlett learns that her mother has just died of typhoid fever, and her father has lost his mind  With Tara pillaged by Union troops and the fields untended, Scarlett vows to ensure her and her family's survival 
With the defeat of the Confederacy, the O'Haras toil in the cotton fields  Ashley returns but finds he is of little help to Tara  When Scarlett begs him to run away with her, he confesses his desire for her and kisses her passionately but says he cannot leave Melanie  Scarlett's father attempts to chase away a carpetbagger from his land but is thrown from his horse and killed   Unable to pay the Reconstructionist taxes imposed on Tara, Scarlett unsuccessfully appeals to Rhett, then dupes her younger sister Suellen's fiancé, the middle-aged and wealthy general store owner Frank Kennedy, into marrying her  Frank, Ashley, Rhett, and several other accomplices make a night raid on a shanty town after Scarlett is attacked while driving through it alone, resulting in Frank's death  Shortly after Frank's funeral, Rhett proposes to Scarlett, and she accepts 
Rhett and Scarlett have a daughter whom Rhett names Bonnie Blue, but Scarlett still pines for Ashley and, chagrined at the perceived ruin of her figure, refuses to have any more children or share a bed with Rhett  One day at Frank's mill, Ashley's sister, India, sees Scarlett and Ashley embracing  Harboring an intense dislike of Scarlett, India eagerly spreads rumors  Later that evening, Rhett, having heard the rumors, forces Scarlett to attend a birthday party for Ashley  Melanie, however, stands by Scarlett  After returning home, Scarlett finds Rhett downstairs drunk, and they argue about Ashley  Rhett kisses Scarlett against her will, stating his intent to have sex with her that night, and carries the struggling Scarlett to the bedroom 
The next day, Rhett apologizes for his behavior and offers Scarlett a divorce, which she rejects, saying it would be a disgrace  When Rhett returns from an extended trip to London, England, Scarlett informs him that she is pregnant, but an argument ensues, resulting in her falling down a flight of stairs and suffering a miscarriage  While recovering, tragedy strikes again when Bonnie dies while attempting to jump a fence with her pony  Scarlett and Rhett visit Melanie, who has suffered complications from a new pregnancy, on her deathbed  As Scarlett consoles Ashley, Rhett prepares to leave Atlanta  Having realized that it was him, and not Ashley, she truly loved all along, Scarlett pleads with Rhett to stay, but he rebuffs her and walks away into the morning fog  A distraught Scarlett resolves to return home to Tara, vowing to one day win Rhett back 

Cast
Production
Before publication of the novel, several Hollywood executives and studios declined to create a film based on it, including Louis B  Mayer and Irving Thalberg at Metro-Goldwyn-Mayer (MGM), Pandro Berman at RKO Pictures, and David O  Selznick of Selznick International Pictures  Jack L  Warner of Warner Bros considered purchasing the rights after reading the synopsis but his biggest star Bette Davis was not interested at the time, and Darryl Zanuck of 20th Century-Fox had not offered enough money  However, Selznick changed his mind after his story editor Kay Brown and business partner John Hay Whitney urged him to buy the film rights  In July 1936—a month after it was published—Selznick bought the rights for $50,000 

Casting
The casting of the two lead roles became a complex, two-year endeavor  For the role of Rhett Butler, Selznick from the start wanted Clark Gable, but Gable was under contract to MGM, which never loaned him to other studios  Gary Cooper was considered, but Samuel Goldwyn—to whom Cooper was under contract—refused to loan him out  Warner offered a package of Bette Davis, Errol Flynn, and Olivia de Havilland for lead roles in return for the distribution rights  By this time, Selznick was determined to get Gable and in August 1938 he eventually struck a deal with his father-in-law, MGM chief Louis B  Mayer: MGM would provide Gable and $1,250,000 for half of the film's budget, and in return, Selznick would have to pay Gable's weekly salary; half the profits would go to MGM while Loew's, Inc—MGM's parent company—would release the film The arrangement to release through MGM meant delaying the start of production until the end of 1938, when Selznick's distribution deal with United Artists concluded  Selznick used the delay to continue to revise the script and, more importantly, build publicity for the film by searching for the role of Scarlett  Selznick began a nationwide casting call that interviewed 1,400 unknowns  The effort cost $100,000 and proved useless for the main objective of casting the role, but created "priceless" publicity  Early frontrunners included Miriam Hopkins and Tallulah Bankhead, who were regarded as possibilities by Selznick prior to the purchase of the film rights; Joan Crawford, who was signed to MGM, was also considered as a potential pairing with Gable  After a deal was struck with MGM, Selznick held discussions with Norma Shearer—who was MGM's top female star at the time—but she withdrew herself from consideration  Katharine Hepburn lobbied hard for the role with the support of her friend, George Cukor, who had been hired to direct, but she was vetoed by Selznick who felt she was not right for the part Many famous—or soon-to-be-famous—actresses were considered, but only thirty-one women were actually screen-tested for Scarlett including Ardis Ankerson (soon to be given her screen name Brenda Marshall), Jean Arthur, Tallulah Bankhead, Diana Barrymore, Joan Bennett, Nancy Coleman, Frances Dee, Ellen Drew (as Terry Ray), Paulette Goddard, Susan Hayward (under her real name of Edythe Marrenner), Vivien Leigh, Anita Louise, Haila Stoddard, Margaret Tallichet, Lana Turner and Linda Watkins  Although Margaret Mitchell refused to publicly name her choice, the actress who came closest to winning her approval was Miriam Hopkins, who Mitchell felt was just the right type of actress to play Scarlett as written in the book  However, Hopkins was in her mid-thirties at the time and was considered too old for the part  Four actresses, including Jean Arthur and Joan Bennett, were still under consideration by December 1938; however, only two finalists, Paulette Goddard and Vivien Leigh, were tested in Technicolor, both on December 20  Goddard almost won the role, but controversy over her marriage with Charlie Chaplin caused Selznick to change his mind Selznick had been quietly considering Vivien Leigh, a young English actress who was still little known in America, for the role of Scarlett since February 1938 when Selznick saw her in Fire Over England and A Yank at Oxford  Leigh's American agent was the London representative of the Myron Selznick talent agency (headed by David Selznick's brother, one of the owners of Selznick International), and she had requested in February that her name be submitted for consideration as Scarlett  By the summer of 1938 the Selznicks were negotiating with Alexander Korda, to whom Leigh was under contract, for her services later that year  Selznick's brother arranged for them to meet for the first time on the night of December 10, 1938, when the burning of Atlanta was filmed  In a letter to his wife two days later, Selznick admitted that Leigh was "the Scarlett dark horse", and after a series of screen tests, her casting was announced on January 13, 1939  Just before the shooting of the film, Selznick informed newspaper columnist Ed Sullivan: "Scarlett O'Hara's parents were French and Irish  Identically, Miss Leigh's parents are French and Irish "A pressing issue for Selznick throughout casting was Hollywood's persistent failure to accurately portray Southern accents  The studio believed that if the accent was not accurately depicted it could prove detrimental to the film's success  Selznick hired Susan Myrick (an expert on Southern speech, manners and customs recommended to him by Mitchell) and Will A  Price to coach the actors on speaking with a Southern drawl  Mitchell was complimentary about the vocal work of the cast, noting the lack of criticism when the film came out 

Screenplay
Of the original screenplay writer, Sidney Howard, film historian Joanne Yeck writes, "reducing the intricacies of Gone with the Wind's epic dimensions was a herculean task     and Howard's first submission was far too long, and would have required at least six hours of film; 
Context 3: Passage 1:
Sant Martí d'Empúries
Sant Martí d'Empúries is an entity of the town of L'Escala  It is located next to the ruins of Empúries or Empòrion  Ancient Greeks established the settlement in the 6th century BC  It was the county seat until 1079 Empúries moved to Castelló d'Empúries place less exposed to attack 
Sant Martí d'Empúries is a staging point on the GR 92 long distance footpath, which roughly follows the length of the Mediterranean coast of Spain  Stage 5, to the north, takes a route behind the coast to the El Cortalet pond in the Parc Natural dels Aiguamolls de l'Empordà, a distance of 20 2 kilometres (12 6 mi)  Stage 6, to the south, follows the coast to l'Escala and then takes an inland route across the Montgri Massif to reach the next staging point of Torroella de Montgrí, a distance of 20 0 kilometres (12 4 mi) 

History
It was an inhabited place since the arrival of Greeks from Massalia, actual Marseille (France) in the 6th century BC  Greeks established a settlement there called it, Kypsela (Greek: Κύψελα)  At the ancient times there is a possibility that there was a temple of Artemis on the island It was Christianized by Saint Feliu, an African martyr who died in 304 in Girona  He was bishop between 516 and 693  Charlemagne mentions Ermenguer as first Count of Empúries in 812 
Passage 2:
British nationality law
The primary law governing nationality in the United Kingdom is the British Nationality Act 1981, which came into force on 1 January 1983  Regulations apply to the British Islands, which include the UK itself and the Crown dependencies, and the 14 British Overseas Territories 
The six classes of British nationality each have varying degrees of civil and political rights, due to the UK's historical status as a colonial empire  The principal class of British nationality is British citizenship, which is associated with the British Islands  British nationals associated with an overseas territory are British Overseas Territories citizens (BOTCs)  Almost all BOTCs (except for those from Akrotiri and Dhekelia) have also been British citizens since 2002  Individuals connected with former British colonies may hold residual forms of British nationality, which do not confer an automatic right of abode in the United Kingdom and generally may no longer be acquired  These residual nationalities are the statuses of British Overseas citizen, British subject, British National (Overseas), and British protected person 
All persons born in the British Islands before 1 January 1983 were automatically granted citizenship by birth regardless of the nationalities of their parents  Individuals born in those territories since that date only receive citizenship at birth if at least the mother is a British citizen or holds settled status  Foreign nationals may naturalise as British citizens after meeting a minimum residence requirement (usually five years) and acquiring settled status 
The United Kingdom was previously a member state of the European Union (EU) and British citizens held full EU citizenship  They had held automatic and permanent permission to live and work in any EU or European Free Trade Association (EFTA) country and were able to vote in elections to the European Parliament  Despite the UK's withdrawal from the union in 2020, British citizens continue to hold permanent permission to work and reside in the Republic of Ireland as part of the Common Travel Area 

Terminology
The distinction between the meaning of the terms citizenship and nationality is not always clear in the English language and differs by country  Generally, nationality refers to a person's legal belonging to a sovereign state and is the common term used in international treaties when addressing members of a country, while citizenship usually means the set of rights and duties a person has in that nation  This distinction is clearly defined in many non-English speaking countries but not in the Anglosphere  Historically, an individual associated with Britain was neither a national nor a citizen, but a British subject  British citizenship was not created until passage of the British Nationality Act 1981  This Act defined six types of nationality with varying degrees of civil and political rights, dependent on a person's connections with the United Kingdom, overseas territories, or former colonies  British citizens hold their status because of a close connection with the British Islands, usually through their own (or parents' or grandparents') birth, adoption, naturalisation, or registration as citizens of the UK 

Types of British nationality
There are six types of British nationality: any person who is a British citizen, British Overseas Territories citizen (BOTC), British Overseas citizen (BOC), British National (Overseas) (BN(O)), British subject, or British protected person is a British national  Of these statuses, only British citizenship grants automatic right of abode in the United Kingdom  British Overseas Territories are areas outside of the British Islands where the UK holds sovereignty  Since 2002, nearly all BOTCs also hold British citizenship, except for those associated with Akrotiri and Dhekelia The other four categories are residual nationality classes that generally cannot be acquired  BOCs are people connected with former British colonies who have no close ties to the UK or overseas territories  BN(O)s are Hong Kong residents who voluntarily registered for this status before the territory's transfer to China in 1997  British subjects hold their status through a connection either to former  British India or to what is now the Republic of Ireland as they existed before 1949  British protected persons come from areas controlled by the British Empire but were never formally incorporated as Crown territory; this includes protectorates, protected states, mandated territories, and Indian princely states 

History
Development from feudal allegiance
Before the concept of nationality was codified in legislation, inhabitants of English communities owed allegiance to their feudal lords, who were themselves vassals of the monarch  This system of loyalty, indirectly owed to the monarch personally, developed into a general establishment of subjecthood to the Crown  Calvin's Case in 1608 established the principle of jus soli, that all those who were born within Crown dominions were natural-born subjects  After passage of the Acts of Union 1707, English and Scottish subjects became British subjects  Similarly, the Kingdom of Ireland was merged with the Kingdom of Great Britain to form the United Kingdom of Great Britain and Ireland in 1801  Natural-born subjects were considered to owe perpetual allegiance to the Crown and could not voluntarily renounce British subject status until this was first permitted in 1870 Prior to 1708, foreigners could only be naturalised through Acts of Parliament  Protestants fleeing religious persecution in mainland Europe were allowed to naturalise as subjects in 1708, but this was quickly repealed in 1711 in response to the number of migrants exercising that ability  A standard administrative process was not introduced until 1844, when applicants were first able to acquire naturalisation grants from the Home Office  Despite the creation of this pathway, personalised naturalising legislation continued to be enacted until 1975 The monarch could personally make any individual a subject by royal prerogative  By this method, a foreigner became a denizen – although they were no longer considered an alien, they could not pass subject status to their children by descent and were barred from Crown service and public office  This mechanism was no longer used after 1873 Until the mid-19th century, it was unclear whether nationality regulations in the United Kingdom were applicable elsewhere in the British Empire  Individual colonies had each developed their own procedures and requirements for naturalisation, granting subject status at the discretion of the local governments  In 1847, Parliament formalised a clear distinction between subjects who were naturalised in the UK and those who became British subjects in other territories  Individuals who naturalised in the UK were deemed to have received the status by imperial naturalisation, which was valid throughout the Empire  Those naturalising in colonies were said to have gone through local naturalisation and were given subject status valid only within the relevant territory; a subject who locally naturalised in Canada was a British subject there, but not in England or New Zealand  When travelling outside of the Empire, British subjects who were locally naturalised in a colony were still entitled to imperial protection Certain territories that came under British jurisdiction were not formally incorporated as Crown territory proper  These included protectorates, protected states, mandated territories, and Indian princely states  Because domestic law treated these areas as foreign territory, birth in one of these areas did not automatically confer British subject status  Instead, most people associated with these territories were designated as British protected persons  British protected persons were treated as aliens in the United Kingdom, but both British subjects and protected persons could be issued British passports  Protected persons could not travel to the UK without first requesting permission, but were afforded the same consular protection as British subjects when travelling outside of the Empire 

Imperial common code
Parliament brought regulations for British subject status into codified statute law for the first time with passage of the British Nationality and Status of Aliens Act 1914  British subject status was standardised as a common nationality across the Empire  Dominions that adopted Part II of this Act as part of local legislation were authorised to grant subject status to aliens by imperial naturalisation The 1914 regulations codified the doctrine of coverture into imperial nationality law, where a woman's consent to marry a foreigner was also assumed to be intent to denaturalise; British women who married foreign men automatically lost their British nationality  There were two exceptions to this: a wife married to a husband who lost his British subject status was able to retain British nationality by declaration, and a British-born widow or divorcée who had lost her British nationality through marriage could reacquire that status without meeting residence requirements after the dissolution or termination of her marriage By the end of the First World War, the Dominions had exercised increasing levels of autonomy in managing their own affairs and each by then had developed a distinct national identity  Britain formally recognised this at the 1926 Imperial Conference, jointly issuing the Balfour Declaration with all the Dominion heads of government, which stated that the United Kingdom and Dominions were autonomous and equal to each other within the British Commonwealth of Nations  Full legislative independence was granted to the Dominions with passage of the Statute of Westminster 1931 Women's rights groups throughout the Empire pressured the imperial government during this time to amend nationality regulations that tied a married woman's status to that of her husband  Because the government could no longer enforce legislative supremacy over the Dominions after 1931 and wanted to maintain a strong constitutional link to them through the common nationality code, it was unwilling to make major changes without unanimous agreement among the Dominions on this issue, which it did not have  Imperial legal uniformity was nevertheless eroded during the 1930s; New Zealand and Australia amended their laws in 1935 and 1936 to allow women denaturalised by marriage to retain their rights as British subjects, and Ireland changed its regulations in 1935 to cause no change to a woman's nationality after her marriage 

Irish independence
Irish resistance to the Union and desire for local self-governance led to the Irish War of Independence  Following the war, the island of Ireland was partitioned into two parts  Southern Ireland became the Irish Free State in 1922, while Northern Ireland remains part of the United Kingdom  Under the terms of the Anglo-Irish Treaty, Northern Ireland was included in the Irish Free State on independence, but had the right to opt out of the new state within one month of its establishment  This option was exercised on 7 December 1922  The 24-hour period in which Northern Ireland was officially part of the Irish Free State meant that every person ordinarily resident in Northern Ireland on 6 December who fulfilled the citizenship provisions in the Constitution of the Irish Free State had automatically become an Irish citizen on that date At its inception, the Irish Free State gained independence as a Dominion within the British Empire  Imperial legislation at the time dictated that although individual Dominions could define a citizenship for their own citizens, that citizenship would only be effective within the local Dominion's borders  A Canadian, New Zealand, or Irish citizen who traveled outside of their own country would have been regarded as a British subject  This was reinforced by Article 3 of the 1922 Free State Constitution, which stated that Irish citizenship could be exercised "within the limits of the jurisdiction of the Irish Free State" When Free State authorities were first preparing to issue Irish passports in 1923, the British government insisted on the inclusion of some type of wording that described the holders of these passports as "British subjects"  The two sides could not reach agreement on this issue and when the Irish government began issuing passports in 1924, British authorities refused to accept these documents  British consular staff were instructed to confiscate any Irish passports that did not include the term "British subject" and replace them with British passports  This situation continued until 1930, when Irish passports were amended to describe its holders as "one of His Majesty's subjects of the Irish Free State"  Despite these disagreements, the two governments agreed not to establish border controls between their jurisdictions and all Irish citizens and British subjects continued to have the ability to move freely within the Common Travel Area  Although Irish citizens have not been considered British subjects under Irish law since 1935, the British government continued to treat virtually all Irish citizens as British subjects, except for those who had acquired Irish citizenship by naturalisation since the Free State had not incorporated Part II of the British Nationality and Status of Aliens Act 1914 into its legislation 

Changing relationship with the Empire and Commonwealth
Diverging developments in Dominion legislation, as well as growing assertions of local national identity separate from that of Britain and the Empire, culminated with the creation of a substantive Canadian citizenship in 1946, breaking the system of a common imperial nationality  Combined with the approaching independence of India and Pakistan in 1947, comprehensive reform to nationality law was necessary at this point to address ideas that were incompatible with the previous system The British Nationality Act 1948 redefined British subject as any citizen of the United Kingdom, its colonies, or other Commonwealth countries  Commonwealth citizen was first defined in this Act to have the same meaning  This alternative term was necessary to retain a number of newly independent countries in the Commonwealth that wished to become republics rather than preserve the monarch as head of state  The change in naming also indicated a shift in the base theory to this aspect of British nationality; allegiance to the Crown was no longer a requirement to possess British subject status and the common status would be maintained by voluntary agreement among the various members of the Commonwealth British subject/Commonwealth citizen status co-existed with the citizenships of each Commonwealth country  A person born in Australia would be both an Australian citizen and a British subject  British subjects under the previous meaning who held that status on 1 January 1949 because of a connection with the United Kingdom or a remaining colony became Citizens of the United Kingdom and Colonies (CUKC)  CUKC status was the principal form of British nationality during this period of time There was also a category of people called British subjects without citizenship  Irish citizens who fulfilled certain requirements could file formal claims with the Home Secretary to remain British subjects under this definition  Additionally, those who did not qualify for CUKC status or citizenship in other Commonwealth countries, or were connected with a country that had not yet defined citizenship laws, would transitionally remain British subjects in this group 

Irish departure from the Commonwealth
Despite the accommodations for republics, Ireland ended its Commonwealth membership in 1948 when it formally declared itself a republic and removed the British monarch's remaining official functions in the Irish state  This was recognised by Britain after passage of the Ireland Act 1949  Although Irish citizens have no longer been defined as British subjects in British law since 1949, they continue to be treated as non-foreign in the United Kingdom and retain the same rights and privileges exercised by Commonwealth citizens; Irish citizens remain eligible to vote and stand for parliament in the UK The British Nationality Act 1948 unintentionally excluded certain British subjects associated with Ireland from acquiring CUKC status  The wording of that law did not take into account the 24-hour period during which Northern Ireland was part of the Irish Free State in 1922  Individuals born before 1922 in the area that became the Republic of Ireland to fathers also born in that area but were domiciled in Northern Ireland on Irish independence had nevertheless automatically acquired Irish citizenship  The Ireland Act 1949 specifically addresses this by deeming any person in such circumstances who had never registered for Irish citizenship and had not permanently resided in the Republic between 10 April 1935 and 1 January 1949 as a CUKC and having never ceased to be a British subject 

Restricting Commonwealth free movement
All British subjects under the reformed system initially continued to hold free movement rights in both the UK and Ireland  Non-white immigration into the UK was systemically discouraged, but strong economic conditions in Britain following the Second World War attracted an unprecedented wave of colonial migration  This entitlement was part of a wider initiative to preserve close relationships with certain Dominions and colonies (Australia, Canada, New Zealand, South Africa, and Southern Rhodesia) and to moderate nationalist attitudes within the Commonwealth  In response, Parliament imposed immigration controls on any subjects originating from outside the British Islands with the Commonwealth Immigrants Act 1962  This restriction was somewhat relaxed by the Immigration Act 1971 for patrials, subjects whose parents or grandparents were born in the United Kingdom, which gave effective preferential treatment to white Commonwealth citizens  Ireland mirrored this restriction and limited free movement only to people born on the islands of Great Britain or Ireland  However, individuals born in the UK since 1983 are only British citizens if at least one parent is already a British citizen  The Irish regulation created a legal anomaly where persons born in Britain without British citizenship nevertheless held an unrestricted right to settle in Ireland; this inconsistency was removed in 1999 In other parts of the Commonwealth, British subjects already did not have an automatic right to settle  Australia, Canada, New Zealand, and South Africa had immigration restrictions in place for British subjects from outside their jurisdictions targeted at non-white migrants since the late 19th century  After 1949, non-local British subjects under the new definition who were resident in these independent Commonwealth countries continued to retain certain privileges  This included eligibility to vote in elections, for preferred paths to citizenship, and for welfare benefits  British subjects were eligible to vote in New Zealand until 1975 and Australia until 1984 (though subjects on the electoral roll in that year are still eligible)  In Canada, voting eligibility was revoked at the federal level in 1975, but not fully phased out in provinces until 2006  All Commonwealth citizens remain eligible to vote and stand for public office in the UK 

Post-imperial redefinition of nationality classes
By the 1970s and 1980s, most colonies of the British Empire had become independent and remaining ties to the United Kingdom had been significantly weakened  The UK updated its nationality law to reflect the more modest boundaries of its remaining territory and possessions with the British Nationality Act 1981  CUKCs were reclassified in 1983 into different nationality groups based on their ancestry, birthplace, and immigration status: CUKCs who had right of abode in the United Kingdom became British citizens while those connected with a remaining colony became British Dependent Territories citizens (BDTCs)  Remaining CUKCs who were no longer associated with a British territory became British Overseas citizens  The definition of "British subject" became limited to include only the category of people previously called British subjects without citizenship who held that status through a connection with former British India or Ireland before 1949 

Former membership in the European Union
In 1973, the United Kingdom joined the European Communities (EC), a set of organisations that later developed into the European Union (EU)  British citizens were able to work in other EC/EU countries under the freedom of movement for workers established by the 1957 Treaty of Rome and participated in their first European Parliament elections in 1979  With the creation of European Union citizenship by the 1992 Maastricht Treaty, free movement rights were extended to all nationals of EU member states regardless of their employment status  The scope of these rights was further expanded with the establishment of the European Economic Area in 1994 to include any national of an EFTA member state except for Switzerland, which concluded a separate free movement agreement with the EU that came into force in 2002 Not all British nationals were EU citizens  Only British citizens, British Overseas Territories citizens connected with Gibraltar, and British subjects under the 1981 Act who held UK right of abode were defined as UK nationals for the purposes of EU law  Although the Crown dependencies were part of the European Union Customs Union, free movement of persons was never implemented in those territories  Following the UK's withdrawal from the EU on 31 January 2020, British nationals have no longer been EU citizens  Despite this, British citizens continue to have free movement in Ireland as part of the preexisting arrangement for the Common Travel Area While the UK was a member state of the EU, Cypriot and Maltese citizens held a particularly favoured status there  While non-EU Commonwealth citizens continued to need a residence visa to live in the UK, Cypriot and Maltese citizens were able to settle there and immediately hold full rights to political participation due to their status as both Commonwealth and EU citizens  This group of EU citizens (along with Irish citizens) domiciled in the UK were able to vote in the 2016 United Kingdom European Union membership referendum while all other non-British EU citizens could not 

Acquisition and loss of nationality
British citizenship
Prior to 1983, all Individuals born within the British Islands (the United Kingdom and Crown Dependencies) received British citizenship at birth regardless of the nationalities of their parents  Individuals born afterwards only receive citizenship at birth if at least one parent is a British citizen or considered to have settled status in the UK  Children born overseas are British citizens by descent if either parent is a citizen otherwise than by descent, subject to regulations  Adopted children are treated as if they were naturally born to the adopting parents at the time of adoption  Children born abroad to members of the British Armed Forces or British citizens on Crown service are treated as if they were born in the UK Children born in the UK to a resident Irish citizen at any time are always British citizens at birth  Since 1983, the status of a child born in the UK is dependent on whether their parents held British citizenship or settled status at the time of their birth  Irish citizens residing in the UK are deemed to hold settled status upon arrival  Regulations concerning settled status for other European Union (EU), European Economic Area (EEA), and Swiss citizens have changed greatly over time, affecting the status of their children born during the different regulatory periods  EU/EEA citizens living in the UK before 2 October 2000 were automatically considered to be settled  Between that date and 29 April 2006, EU/EEA citizens were required to apply for permanent residency  Swiss citizens became subject to the same regulations on 1 June 2002  From 30 April 2006 until 30 June 2021, EU/EEA and Swiss citizens living in the UK for at least five years automatically received permanent resident status  Permanent resident status for these citizens expired on 1 July 2021, after which they have been required to hold settled status through the European Union Settlement Scheme or another path Foreign nationals may naturalise as British citizens after residing in the UK for more than five years and possessing indefinite leave to remain (ILR) for at least one year  The residency requirement is reduced to three years if an applicant is married to a British citizen and they immediately become eligible for naturalisation after receiving ILR or equivalent  Applicants must demonstrate proficiency in the English, Welsh, or Scottish Gaelic languages and pass the Life in the United Kingdom test 

British Overseas Territories citizenship
Individuals born in a territory automatically receive BOTC status if at least one parent is a BOTC or has belonger status  Children born in an overseas territory to British citizen parents who are not settled in a territory are British citizens at birth, but not BOTCs  Parents do not necessarily need to be connected with the same overseas territory to pass on BOTC status  Alternatively, a child born in an overseas territory may be registered as a BOTC if either parent becomes a BOTC or settles in any overseas territory subsequent to birth  A child who lives in the same territory until age 10 and is not absent for more than 90 days in each year is also entitled to registration as a BOTC  Furthermore, an adopted child automatically become a BOTC on the effective day of adoption if either parent is a BOTC or has belonger status  In all cases that an individual is a British Overseas Territories citizen at birth or adoption within the territories, that person is a BOTC otherwise than by descent Individuals born outside of the territories are BOTCs by descent if either parent is a BOTC otherwise than by descent  Unmarried fathers cannot automatically pass on BOTC status, and it would be necessary for them to register children as BOTCs  If a parent is a BOTC by descent, additional requirements apply to register children as BOTCs  Parents in Crown service who have children abroad are exempted from these circumstances, and their children would be BOTCs otherwise than by descent, as if they had been born on their home territory Foreigners and non-BOTC British nationals may naturalise as British Overseas Territories citizens after residing in a territory for more than five years and possessing belonger status or permanent residency for more than one year  The residency requirement is reduced to three years if an applicant is married to a BOTC  All applicants for naturalisation and registration are normally considered by the governor of the relevant territory, but the Home Secretary retains discretionary authority to grant BOTC status  Since 2004, BOTC applicants aged 18 or older are required to take an oath of allegiance to the Sovereign and loyalty pledge to the relevant territory during their citizenship ceremonies All British Overseas Territories citizens other than those solely connected with Akrotiri and Dhekelia became British citizens on 21 May 2002, and children born on qualified overseas territories to dual BOTC-British citizens since that date are both BOTCs and British citizens otherwise than by descent  Prior to 2002, only BOTCs from Gibraltar and the Falkland Islands were given unrestricted access to citizenship  BOTCs naturalised after that date may also become British citizens by registration at the discretion of the Home Secretary  Becoming a British citizen has no effect on BOTC status; BOTCs may also simultaneously be British citizens 

Other nationality classes
It is generally not possible to acquire other forms of British nationality  British Overseas citizenship, British subjecthood, and British protected person status are only transferred by descent if an individual born to a parent holding one of these statuses would otherwise be stateless  British Overseas citizens retain their status by association with most former British colonies, British subjects are connected specifically with Ireland or British India before 1949, and British protected persons are associated with territories that were under British control but not formally incorporated as part of the British Empire  British National (Overseas) status was exclusively granted by voluntary registration to Hong Kong residents who had been British Dependent Territories citizens prior to the transfer of sovereignty to China in 1997 and cannot be newly acquired in any case  Noncitizen British nationals may become British citizens by registration, rather than naturalisation, after residing in the United Kingdom for more than five years and possessing ILR for more than one year 

Renunciation and restoration
Any type of British nationality can be renounced by making a declaration to the Home Secretary, provided that the declarant possesses or intends to acquire another nationality  Former British citizens or BOTCs may subsequently apply for nationality restoration  Applicants who had originally renounced their British nationality in order to retain or acquire another nationality are entitled to register as British citizens or BOTCs once  Any subsequent renunciation and application for restoration, or someone applying for restoration who originally renounced their British nationality for a reason unrelated to acquiring or retaining an alternate nationality, would be subject to the discretionary approval of the Home Secretary 

Automatic loss of British nationality
British subjects (other than British subjects by virtue of a connection with the Republic of Ireland) and British protected persons lose British nationality upon acquiring any other form of nationality 

These provisions do not apply to British citizens 
British Overseas Territories citizens (BOTCs) who acquire another nationality do not lose their BOTC status but they may be liable to lose belonger status in their home territory under its immigration laws  Such persons are advised to contact the governor of that territory for information 
British Overseas citizens (BOCs) do not lose their BOC status upon acquisition of another citizenship, but any entitlement to registration as a British citizen on the grounds of having no other nationality no longer applies after acquiring another citizenship 

Deprivation of British nationality
The British government does not publish the number of people it strips of citizenship, but independent research by a lawyer-run website, in 2022, found at least 464 people's citizenship was revoked in the last 15 years  After the Nationality, Immigration and Asylum Act 2002 came into force British nationals could be deprived of their citizenship if and only if the Secretary of State was satisfied they were responsible for acts seriously prejudicial to the vital interests of the United Kingdom or an Overseas Territory This was extended under the Immigration, Asylum and Nationality Act 2006: people with dual nationality who are British nationals can be deprived of their British citizenship if the Secretary of State is satisfied that "deprivation is conducive to the public good", or if nationality was obtained by means of fraud, false representation or concealment of a material fact  Between 2006 and the end of 2021 at least 464 people have had their citizenship removed by the government since the law was introduced  There is a right of appeal  This provision has been in force since 16 June 2006 when the Immigration, Nationality and Asylum Act 2006 (Commencement No 1) Order 2006 brought it into force  Loss of British nationality in this way applies also to dual nationals who are British by birth  The Secretary of State may not deprive a person of British nationality, unless obtained by means of fraud, false representation or concealment of a material fact, if they are satisfied that the order would make a person stateless This provision was again modified by the Immigration Act 2014 so as not to require that a third country would actually grant nationality to a person; British nationality can be revoked if "the Secretary of State has reasonable grounds for believing that the person is able, under the law of a country or territory outside the United Kingdom, to become a national of such a country or territory "The powers to strip citizenship were initially very rarely used  Between 2010 and 2015, 33 dual nationals had been deprived of their British citizenship  In the two years to 2013 six people were deprived of citizenship; then in 2013, 18 people were deprived, increasing to 23 in 2014  In 2017, over 40 people had been deprived as of July (at this time increased numbers of British citizens went to join "Islamic State" and then tried to return) The Home Office does not issue information on these cases and is resistant to answering questions, for example under the Freedom of Information Act 2000  It appears that the government usually waits until the person has left Britain, then sends a warning notice to their British home and signs a deprivation order a day or two later  Appeals are heard at the highly secretive Special Immigration Appeals Commission (SIAC), where the government can submit evidence that cannot be seen or challenged by the appellant Home Secretary Sajid Javid said in 2018 that until then deprivation of nationality had been restricted to "terrorists who are a threat to the country", but that he intended to extend it to "those who are convicted of the most grave criminal offences"  The acting director of Liberty responded "The home secretary is taking us down a very dangerous road      making our criminals someone else’s problem is     the government washing its hands of its responsibilities     Banishment belongs in the dark ages "A Nationality and Borders Bill was introduced to the British House of Commons in July 2021, sponsored by the Home Office under Home Secretary Priti Patel  In November 2021, an amendment to the Bill was introduced which, if passed, would allow people to be deprived of British citizenship without being given notice  At the time the Home Office reiterated its position on citizenship: "British citizenship is a privilege, not a right" 

British citizenship ceremonies
From 1 January 2004, all new applicants for British citizenship by naturalisation or registration aged 18 or over if their application is successful must attend a citizenship ceremony and either make an affirmation or take an oath of allegiance to the monarch, and make a pledge to the UK 
Citizenship ceremonies are normally organised by:

local councils in England, Scotland, and Wales
the Northern Ireland Office
the governments of the Isle of Man, Jersey and Guernsey
the Governors of British Overseas Territories
British consular offices outside the United Kingdom and territories Persons from what is now the Republic of Ireland born before 1949 reclaiming British subject status under section 31 of the 1981 Act do not need to attend a citizenship ceremony  If such a person subsequently applies for British citizenship by registration or naturalisation, attendance at a ceremony is required 
For those who applied for British citizenship before 2004:

the oath of allegiance was administered privately through signing a witnessed form in front of a solicitor or other accredited person
those who already held British nationality (other than British protected persons) were exempt, as were those citizens of countries with the King as Head of State (such as Australia and Canada) 

See also
Visa policy of the United Kingdom
Visa requirements for British citizens
Visa requirements for British Nationals (Overseas)
Visa requirements for British Overseas citizens
Visa requirements for British Overseas Territories citizens

Notes
Passage 3:
She Did It
"She Did It" is a song written and originally recorded by Eric Carmen in 1977  Carmen's single was a Top 40 hit on the Billboard Hot 100 chart, reaching number 23  "She Did It" was covered in 1981 by actor and singer Michael Damian, who reached number 69 on the Hot 100 with his version 

Eric Carmen version
Background and release
"She Did It" was first recorded and performed by Eric Carmen  Released in August 1977, it was the first and greatest hit on Carmen's second solo LP, Boats Against the Current   It reached number 23 on the Billboard Hot 100 chart, number 15 on the Cashbox Top 100, and number 11 in Canada This ballad is an upbeat love song about finally finding the right person and experiencing love after being lonely for an extended period of time   It is a happy answer to Carmen's more melancholy hits the year before, "All By Myself" and "Never Gonna Fall in Love Again " It has been hailed as "the best Beach Boys song Brian Wilson never wrote "Back-up vocals for "She Did It" were provided by Bruce Johnston and Brian Wilson of the Beach Boys, whose 1968 hit "Do It Again" is credited by Carmen with being the initial inspiration for the song because of the 'did-its'  "She Did It" also features Burton Cummings, formerly of the Guess Who, and a guitar solo by Andrew Gold ("Lonely Boy"), featuring his distinctive harmonized lead guitar sound, and drumming by Toto's Jeff Porcaro   Carmen has stated that "She Did It" was in turn a source of inspiration for another song, the 1982 hit "Did It in a Minute" by Hall & Oates, with whom he was touring at the time their song became a hit The 45 rpm cover sheath for "She Did It" was a black and white of the full-color photo taken for the album, with manuscript lettering instead of the cursive text which appeared on the cover of the LP   The B side, "Someday," was omitted from the "Boats" LP, but was placed on Carmen's follow-up album, Change of Heart 
Two other songs penned and recorded by Carmen, "That's Rock 'n' Roll" and "Hey Deanie", but made into hits by Shaun Cassidy, charted concurrently with "She Did It" in late 1977, reaching numbers three and seven, respectively On the Canadian singles chart, "She Did It" spent four consecutive weeks at number 11  One of the songs blocking it from entering the Top 10 was Carmen's own composition, "That's Rock 'n' Roll," a number-one hit in Canada  "She Did It" ranks as the 104th biggest Canadian hit of 1977 Chicago radio superstation WLS, which gave the song much airplay, ranked "She Did It" as the 56th most popular hit of 1977 
It reached as high as number 6 (for two weeks) on their surveys of November 19 and 26, 1977  Other cities where the song was played heavily include Los Angeles, Sacramento, San Jose, Las Vegas, Oklahoma City and Dallas in the west, and Boston, Philadelphia, Richmond, Charlotte, Atlanta and New Orleans in the east, in addition to Ohio, Carmen's home base "She Did It" also performed particularly well in Vancouver, where radio station CKLG-AM 1070 ranked "She Did It" as the 27th biggest hit of the year   It peaked at number 3 for two weeks on their surveys of October 19 and 26, 1977 While not charting nationally in Australia, the song did become a Top 40 hit (#23) in the Sydney area on radio station 2SM 

Television performance
Carmen performed "She Did It" on The Midnight Special television program (season 6, episode 5) on October 14, 1977   The show was hosted by Marilyn McCoo & Billy Davis Jr 

Other appearances
"She Did It" was featured on several compilation albums featuring music from 1977 and 1978  It was included on "20 Monster Hits" by EMI, as well as appearing on other similar collections by Ronco and K-Tel   In 1993, it was included on My Crescent Love 2 – Afternoon AOR (BMG Victor) 
"She Did It" has been included on the following collections of Carmen's material:

The Best of Eric Carmen (1988)
Definitive Collection (1997)
The Essential Eric Carmen (2014)

Chart performance
Michael Damian version
Background and release
Almost four years after Eric Carmen's release of "She Did It," the song was covered by actor and singer Michael Damian   This version was Damian's debut single release   It was a non-album single from 1981 that reached number 69 on the Billboard Hot 100 chart and number 95 on the Cash Box Top 100 chart   It was released almost eight years before his subsequent hit, a cover of "Rock On," which reached number one in 1989  "She Did It" was backed with "I Love How You Love Me", a cover of the Paris Sisters 

Television performance
On April 11, 1981, Damian performed "She Did It" on the ABC-TV Saturday-afternoon program, American Bandstand 

Chart performance
Passage 4:
Krasnovishersky District
Krasnovishersky District (Russian: Краснови́шерский райо́н) is an administrative district (raion) of Perm Krai, Russia; one of the thirty-three in the krai  Municipally, it is incorporated as Krasnovishersky Municipal District  It is located in the northeast of the krai, in the valley of the Vishera River, and borders with the Komi Republic in the north, Sverdlovsk Oblast in the east, Cherdynsky District in the west, Solikamsky District in the south, and with the territory of the town of krai significance of Alexandrovsk in the southeast  The area of the district is 15,375 square kilometers (5,936 sq mi)  Its administrative center is the town of Krasnovishersk  Population:  22,554 (2010 Census); 27,871 (2002 Census); 30,827 (1989 Census)  The population of Krasnovishersk accounts for 71 4% of the district's total population 

Geography
The eastern part of the district is mostly mountainous, while the western part is mostly flat, with some hills with the height of about 190–220 meters (620–720 ft)  The highest point of Perm Krai, Mount Tulymsky Kamen, is located in the district  There are many rivers in the district, including the Vishera River with its tributaries the Yazva, the Vels, the Uls, and many others  The town of Krasnovishersk is located 320 kilometers (200 mi) from the city of Perm  Natural resources of the district include diamonds, gold, oil, natural gas, and others 
The climate is temperate continental  The average annual temperature is +0 1 °C (32 2 °F); annual precipitation is 550–700 millimeters (22–28 in)  Up to 87% of the district's territory is covered by forests  In the extreme northeast of the district the Vishera Nature Reserve is located 

History
The district was established on January 13, 1941  Until then, its territory was a part of Cherdynsky District  Krasnovishersk, the administrative center of the district, was granted town status on July 2, 1942 

Demographics
As of the 2002 Census, about 89 7% of district's population were Russians and 2 5% were the Komi people 

Economy
The industry of the district includes timber industry, pulp and paper mill, mining and food industry 

See also
Visherogorsk
Zagovorukha
Passage 5:
Thirukkanur
Thirukkanur is a village in the union territory of Puducherry, India  It is one of 16 villages located in Mannadipet commune panchayat of the Villianur taluk  It is bordered by the state of Tamil Nadu both to the east and west 
Thirukkanur has a primary health center, police station, post office, electricity office and registrar office   The area is mainly oriented to agriculture  Thirukkanur market is the only bazaar catering to the needs of about 20 nearby villages   There is no major industry within the purview area of the Thirukkanar Police Station 


== Notes ==
Passage 6:
Virginia, Lempira
Virginia (Spanish pronunciation: [biɾˈxinja]) is a municipality in the Honduran department of Lempira 
Virginia is located in Lempira Honduras and shares a border with El Salvador  Many Virginians travel to El Salvador to do their shopping, because the Honduran cities are far away from Virginia 
It is one of the smallest municipalities of the Lempira department  It is 15 km or 30 minutes away from Mapulaca if accessed through Gracias 

History
It was founded back in 1830  In the national division of 1889 it was one municipality of Candelaria 

Geography
It is situated in a semi flat place and surrounded by many hills   The predominant vegetation corresponds to the sub tropical dry forest  In the municipality capital there are some inclined streets 

Boundaries
Its boundaries are: 

North : Candelaria municipality 
South : El Salvador 
East  : Piraera municipality 
West  : Mapulaca municipality 
Surface Extents: 36 km2

Resources
Since it is on the border with El Salvador, it is much easier for people to go there to establish commercial activities  Also there are more and better jobs on the other side of the border, with the advantage of receiving their wages in US dollars  It is not an ideal location for coffee plantations, therefore corn and beans crops became important (even though they are for local consumption); followed by cattle raising  Like the rest of the department, it has electricity and mobile communication services 

Population
Population: The amount of inhabitants was 2,734 and according to INE Honduras estimates, there will be 2,574 in 2015 
Villages: 5
Settlements: 35

Demographics
At the time of the 2013 Honduras census, Virginia municipality had a population of 2,548  Of these, 97 06% were Mestizo, 2



ground_truth: Kanine Records

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

Question: Who was the spouse of the leading lady in Gone With the wind?

The following are given passages.
Context 2:    [producer] Selznick wanted Howard to remain on the set to make revisions     but Howard refused to leave New England [and] as a result, revisions were handled by a host of local writers"  Selznick dismissed director George Cukor three weeks into filming and sought out Victor Fleming, who was directing The Wizard of Oz at the time  Fleming was dissatisfied with the script, so Selznick brought in the screenwriter Ben Hecht to rewrite the entire screenplay within five days  Hecht returned to Howard's original draft and by the end of the week had succeeded in revising the entire first half of the script  Selznick undertook rewriting the second half himself but fell behind schedule, so Howard returned to work on the script for one week, reworking several key scenes in part two 
"By the time of the film's release in 1939, there was some question as to who should receive screen credit", writes Yeck  "But despite the number of writers and changes, the final script was remarkably close to Howard's version  The fact that Howard's name alone appears on the credits may have been as much a gesture to his memory as to his writing, for in 1939 Sidney Howard died at age 48 in a farm-tractor accident, and before the movie's premiere " Selznick, in a memo written in October 1939, discussed the film's writing credits: "[Y]ou can say frankly that of the comparatively small amount of material in the picture which is not from the book, most is my own personally, and the only original lines of dialog which are not my own are a few from Sidney Howard and a few from Ben Hecht and a couple more from John Van Druten  Offhand I doubt that there are ten original words of [Oliver] Garrett's in the whole script  As to construction, this is about eighty per cent my own, and the rest divided between Jo Swerling and Sidney Howard, with Hecht having contributed materially to the construction of one sequence "According to Hecht's biographer William MacAdams, "At dawn on Sunday, February 20, 1939, David Selznick     and director Victor Fleming shook Hecht awake to inform him he was on loan from MGM and must come with them immediately and go to work on Gone with the Wind, which Selznick had begun shooting five weeks before  It was costing Selznick $50,000 each day the film was on hold waiting for a final screenplay rewrite and time was of the essence  Hecht was in the middle of working on the film At the Circus for the Marx Brothers  Recalling the episode in a letter to screenwriter friend Gene Fowler, he said he hadn't read the novel but Selznick and director Fleming could not wait for him to read it  They acted scenes based on Sidney Howard's original script which needed to be rewritten in a hurry  Hecht wrote, "After each scene had been performed and discussed, I sat down at the typewriter and wrote it out  Selznick and Fleming, eager to continue with their acting, kept hurrying me  We worked in this fashion for seven days, putting in eighteen to twenty hours a day  Selznick refused to let us eat lunch, arguing that food would slow us up  He provided bananas and salted peanuts     thus on the seventh day I had completed, unscathed, the first nine reels of the Civil War epic "
MacAdams writes, "It is impossible to determine exactly how much Hecht scripted     In the official credits filed with the Screen Writers Guild, Sidney Howard was of course awarded the sole screen credit, but four other writers were appended     Jo Swerling for contributing to the treatment, Oliver H  P  Garrett and Barbara Keon to screenplay construction, and Hecht, to dialogue    "

Filming
Principal photography began January 26, 1939, and ended on July 1, with post-production work continuing until November 11, 1939  Director George Cukor, with whom Selznick had a long working relationship and who had spent almost two years in pre-production on Gone with the Wind, was replaced after less than three weeks of shooting  Selznick and Cukor had already disagreed over the pace of filming and the script, but other explanations put Cukor's departure down to Gable's discomfort at working with him  Emanuel Levy, Cukor's biographer, claimed that Gable had worked Hollywood's gay circuit as a hustler and that Cukor knew of his past, so Gable used his influence to have him discharged  Vivien Leigh and Olivia de Havilland learned of Cukor's firing on the day the Atlanta bazaar scene was filmed, and the pair went to Selznick's office in full costume and implored him to change his mind  Victor Fleming, who was directing The Wizard of Oz, was called in from MGM to complete the film, although Cukor continued privately to coach Leigh and De Havilland  Another MGM director, Sam Wood, worked for two weeks in May when Fleming temporarily left the production due to exhaustion  Although some of Cukor's scenes were later reshot, Selznick estimated that "three solid reels" of his work remained in the final cut  As of the end of principal photography, Cukor had undertaken eighteen days of filming, Fleming ninety-three, and Wood twenty-four Cinematographer Lee Garmes began the production, but on March 11, 1939—after a month of shooting footage that Selznick and his associates regarded as "too dark"—was replaced with Ernest Haller, working with Technicolor cinematographer Ray Rennahan  Garmes completed the first third of the film—mostly everything prior to Melanie having the baby—but did not receive a credit Most of the filming was done on "the back forty" of Selznick International with all the location scenes being photographed in California, mostly in Los Angeles County or neighboring Ventura County  Tara, the fictional Southern plantation house, existed only as a plywood and papier-mâché facade built on the Selznick studio lot  For the burning of Atlanta, new false facades were built in front of the Selznick backlot's many old abandoned sets, and Selznick himself operated the controls for the explosives that burned them down  Sources at the time put the estimated production costs at $3 85 million, making it the second most expensive film made up to that point, with only Ben-Hur (1925) having cost more Although legend persists that the Hays Office fined Selznick $5,000 for using the word "damn" in Butler's exit line, in fact the Motion Picture Association board passed an amendment to the Production Code on November 1, 1939, that forbade use of the words "hell" or "damn" except when their use "shall be essential and required for portrayal, in proper historical context, of any scene or dialogue based upon historical fact or folklore     or a quotation from a literary work, provided that no such use shall be permitted which is intrinsically objectionable or offends good taste"  With that amendment, the Production Code Administration had no further objection to Rhett's closing line 

Music
To compose the score, Selznick chose Max Steiner, with whom he had worked at RKO Pictures in the early 1930s  Warner Bros —who had contracted Steiner in 1936—agreed to lend him to Selznick  Steiner spent twelve weeks working on the score, the longest period that he had ever spent writing one, and at two hours and thirty-six minutes long it was also the longest that he had ever written  Five orchestrators were hired: Hugo Friedhofer, Maurice de Packh, Bernhard Kaun, Adolph Deutsch and Reginald Bassett 
The score is characterized by two love themes, one for Ashley's and Melanie's sweet love and another that evokes Scarlett's passion for Ashley, though notably there is no Scarlett and Rhett love theme  Steiner drew considerably on folk and patriotic music, which included Stephen Foster tunes such as "Louisiana Belle", "Dolly Day", "Ringo De Banjo", "Beautiful Dreamer", "Old Folks at Home", and "Katie Belle", which formed the basis of Scarlett's theme; other tunes that feature prominently are: "Marching through Georgia" by Henry Clay Work, "Dixie", "Garryowen", and "The Bonnie Blue Flag"  The theme that is most associated with the film today is the melody that accompanies Tara, the O'Hara plantation; in the early 1940s, "Tara's Theme" formed the musical basis of the song "My Own True Love" by Mack David  In all, there are ninety-nine separate pieces of music featured in the score 
Due to the pressure of completing on time, Steiner received some assistance in composing from Friedhofer, Deutsch and Heinz Roemheld, and in addition, two short cues—by Franz Waxman and William Axt—were taken from scores in the MGM library 

Release
Preview, premiere, and initial release
On September 9, 1939, Selznick, his wife, Irene, investor John "Jock" Whitney, and film editor Hal Kern drove out to Riverside, California to preview the film at the Fox Theatre  The film was still a rough cut at this stage, missing completed titles and lacking special optical effects  It ran for four hours and twenty-five minutes; it was later cut to under four hours for its proper release  A double bill of Hawaiian Nights and Beau Geste was playing, but after the first feature it was announced that instead of the second bill, the theater would be screening a preview of an unnamed upcoming film; the audience were informed they could leave but would not be readmitted once the film had begun, nor would phone calls be allowed once the theater had been sealed  When the title appeared on the screen the audience cheered, and after it had ended the film received a standing ovation  In his biography of Selznick, David Thomson wrote that the audience's response before the film had even started "was the greatest moment of [Selznick's] life, the greatest victory and redemption of all his failings", with Selznick describing the preview cards as "probably the most amazing any picture has ever had"  When Selznick was asked by the press in early September how he felt about the film, he said: "At noon I think it's divine, at midnight I think it's lousy  Sometimes I think it's the greatest picture ever made  But if it's only a great picture, I'll still be satisfied" 
About 300,000 people came out in Atlanta for the film's premiere at the Loew's Grand Theatre on December 15, 1939  It was the climax of three days of festivities hosted by Mayor William B  Hartsfield, which included a parade of limousines featuring stars from the film, receptions, thousands of Confederate flags, and a costume ball  Eurith D  Rivers, the governor of Georgia, declared December 15 a state holiday  An estimated 300,000 Atlanta residents and visitors lined the streets for seven miles to view the procession of limousines that brought stars from the airport  Only Leslie Howard and Victor Fleming chose not to attend: Howard had returned to England due to the outbreak of World War II, and Fleming had fallen out with Selznick and declined to attend any of the premieres  Hattie McDaniel was also absent, as she and the other black cast members were prevented from attending the premiere due to Georgia's Jim Crow laws, which kept them from sitting with their white colleagues  Upon learning that McDaniel had been barred from the premiere, Clark Gable threatened to boycott the event, but McDaniel persuaded him to attend  President Jimmy Carter later recalled it as "the biggest event to happen in the South in my lifetime"  Premieres in New York and Los Angeles followed, the latter attended by some of the actresses who had been considered for the part of Scarlett, among them Paulette Goddard, Norma Shearer and Joan Crawford From December 1939 to July 1940, the film played only advance-ticket road show engagements at a limited number of theaters at prices upwards of $1—more than double the price of a regular first-run feature—with MGM collecting an unprecedented 70 percent of the box office receipts, as opposed to the typical 30–35 percent of the period  After reaching saturation as a roadshow, MGM revised its terms to a 50 percent cut and halved the prices, before it finally entered general release in 1941 at "popular" prices  Including its distribution and advertising costs, total expenditure on the film was as high as $7 million 

Later releases
In 1942, Selznick liquidated his company for tax reasons, and sold his share in Gone with the Wind to his business partner, John Whitney, for $500,000  In turn, Whitney sold it on to MGM for $2 8 million, so that the studio owned the film outright  MGM immediately re-released the film in the spring of 1942, and again in 1947 and 1954  The 1954 reissue was the first time the film was shown in widescreen, compromising the original Academy ratio and cropping the top and bottom to an aspect ratio of 1 75:1  In doing so, a number of shots were optically re-framed and cut into the three-strip camera negatives, forever altering five shots in the film A 1961 release of the film commemorated the centennial anniversary of the start of the Civil War, and it also included a gala "premiere" at the Loew's Grand Theater  It was attended by Selznick and many other stars of the film, including Vivien Leigh and Olivia de Havilland; Clark Gable had died the previous year  For its 1967 re-release, the film was blown up to 70mm, and issued with updated poster artwork featuring Gable—with his white shirt ripped, open—holding Leigh against a backdrop of orange flames  There were further re-releases in 1971, 1974 and 1989; for the fiftieth anniversary reissue in 1989, it was given a complete audio and video restoration  It was released theatrically one more time in the United States, in 1998 by Time Warner owned New Line Cinema In 2013, a 4K digital restoration was released in the United Kingdom to coincide with Vivien Leigh's centenary  In 2014, special screenings were scheduled over a two-day period at theaters across the United States to coincide with the film's 75th anniversary 

Television and home media
The film received its U S  television premiere on the HBO cable network on June 11, 1976, and played on the channel for a total of fourteen times throughout the rest of the month  Other cable channels also broadcast the film during June  It made its network television debut in November of that year; NBC paid $5 million for a one-off airing, and it was broadcast in two parts on successive evenings  It became at that time the highest-rated television program ever presented on a single network, watched by 47 5 percent of the households sampled in America, and 65 percent of television viewers, still the record for the highest-rated film to ever air on television In 1978, CBS signed a deal worth $35 million to broadcast the film twenty times over as many years  Turner Entertainment acquired the MGM film library in 1986, but the deal did not include the television rights to Gone with the Wind, which were still held by CBS  A deal was struck in which the rights were returned to Turner Entertainment and CBS's broadcast rights to The Wizard of Oz were extended  The film was used to launch two cable channels owned by Turner Broadcasting System: Turner Network Television (1988) and Turner Classic Movies (1994) The film debuted on videocassette in March 1985, where it placed second in the sales charts, and has since been released on DVD and Blu-ray Disc formats 

Reception
Critical response
Upon its release, consumer magazines and newspapers generally gave Gone with the Wind excellent reviews; however, while its production values, technical achievements, and scale of ambition were universally recognized, some reviewers of the time found the film to be too long and dramatically unconvincing  Frank S  Nugent for The New York Times best summed up the general sentiment by acknowledging that while it was the most ambitious film production made up to that point, it probably was not the greatest film ever made, but he nevertheless found it to be an "interesting story beautifully told"  Franz Hoellering of The Nation was of the same opinion: "The result is a film which is a major event in the history of the industry but only a minor achievement in motion-picture art  There are moments when the two categories meet on good terms, but the long stretches between are filled with mere spectacular efficiency "While the film was praised for its fidelity to the novel, this aspect was also singled out as the main factor in contributing to the lengthy running time  John C  Flinn wrote for Variety that Selznick had "left too much in", and that as entertainment, the film would have benefited if repetitious scenes and dialog from the latter part of the story had been trimmed  The Manchester Guardian felt that the film's one serious drawback was that the story lacked the epic quality to justify the outlay of time and found the second half, which focuses on Scarlett's "irrelevant marriages" and "domestic squabbles", mostly superfluous, and the sole reason for their inclusion had been "simply because Margaret Mitchell wrote it that way"  The Guardian believed that if "the story had been cut short and tidied up at the point marked by the interval, and if the personal drama had been made subservient to a cinematic treatment of the central theme—the collapse and devastation of the Old South—then Gone With the Wind might have been a really great film"  Likewise, Hoellering also found the second half of the film to be weaker than the first half: identifying the Civil War to be the driving force of the first part while the characters dominate in the second part, he concluded this is where the main fault of the film lay, commenting that "the characters alone do not suffice"  Despite many excellent scenes, he considered the drama to be unconvincing and that the "psychological development" had been neglected Much of the praise was reserved for the casting, with Vivien Leigh in particular being singled out for her performance as Scarlett  Nugent described her as the "pivot of the picture" and believed her to be "so perfectly designed for the part by art and nature that any other actress in the role would be inconceivable"  Similarly, Hoellering found her "perfect" in "appearance and movements"; he felt her acting best when she was allowed to "accentuate the split personality she portrays" and thought she was particularly effective in such moments of characterization like the morning after the marital rape scene  Flinn also found Leigh suited to the role physically and felt she was best in the scenes where she displays courage and determination, such as the escape from Atlanta and when Scarlett kills a Yankee deserter  Leigh won in the Best Actress category for her performance at the 1939 New York Film Critics Circle Awards  Of Clark Gable's performance as Rhett Butler, Flinn felt the characterization was "as close to Miss Mitchell's conception—and the audience's—as might be imagined", a view which Nugent concurred with, although Hoellering felt that Gable did not quite convince in the closing scenes, as Rhett walks out on Scarlett in disgust  Of the other principal cast members, both Hoellering and Flinn found Leslie Howard to be "convincing" as the weak-willed Ashley, with Flinn identifying Olivia de Havilland as a "standout" as Melanie; Nugent was also especially taken with de Havilland's performance, describing it as a "gracious, dignified, tender gem of characterization"  Hattie McDaniel's performance as Mammy was singled out for praise by many critics: Nugent believed she gave the best performance in the film after Vivien Leigh, with Flinn placing it third after Leigh's and Gable's performances 

Academy Awards
At the 12th Academy Awards, Gone with the Wind set a record for Academy Award wins and nominations, winning in eight of the competitive categories it was nominated in, from a total of thirteen nominations  It won for Best Picture, Best Actress, Best Supporting Actress, Best Director, Best Screenplay, Best Cinematography, Best Art Direction, and Best Editing, and received two further honorary awards for its use of equipment and color (it also became the first color film to win Best Picture) The film's record of eight competitive wins stood until Gigi (1958) won nine, and its overall record of ten was broken by Ben-Hur (1959) which won eleven  Gone with the Wind also held the record for most nominations until All About Eve (1950) secured fourteen  It was the longest American sound film made up to that point, and may still hold the record of the longest Best Picture winner depending on how it is interpreted  The running time for Gone with the Wind is just under 221 minutes, while Lawrence of Arabia (1962) runs for just over 222 minutes; however, including the overture, intermission, entr'acte, and exit music, Gone with the Wind lasts for 234 minutes (although some sources put its full length at 238 minutes) while Lawrence of Arabia comes in slightly shorter at 232 minutes with its additional components Hattie McDaniel became the first African-American to win an Academy Award—beating out her co-star Olivia de Havilland, who was also nominated in the same category—but was racially segregated from her co-stars at the awards ceremony at the Coconut Grove; she and her escort were made to sit at a separate table at the back of the room  Meanwhile, screenwriter Sidney Howard became the first posthumous Oscar winner and Selznick personally received the Irving G  Thalberg Memorial Award for his career achievements 

Reactions from African-Americans
The film has been criticized by black commentators since its release for its depiction of black people and "whitewashing" of the issue of slavery but, initially, newspapers controlled by white Americans did not report on these criticisms  Carlton Moss, a black dramatist, observed in an open letter that whereas The Birth of a Nation was a "frontal attack on American history and the Negro people", Gone with the Wind was a "rear attack on the same"  He went on to characterize it as a "nostalgic plea for sympathy for a still-living cause of Southern reaction"  Moss further called out the stereotypical black characterizations, such as the "shiftless and dull-witted Pork", the "indolent and thoroughly irresponsible Prissy", Big Sam's "radiant acceptance of slavery", and Mammy with her "constant haranguing and doting on every wish of Scarlett"  Similarly, Melvin B  Tolson, a poet and educator, wrote "Birth of a Nation was such a barefaced lie that a moron could see through it  Gone with the Wind is such a subtle lie that it will be swallowed as truth by millions of whites and blacks alike "Following Hattie McDaniel's Oscar win, Walter Francis White, leader of the National Association for the Advancement of Colored People, accused her of being an Uncle Tom  McDaniel responded that she would "rather make seven hundred dollars a week playing a maid than seven dollars being one"; she further questioned White's qualification to speak on behalf of black people, since he was light-skinned and only one-eighth black Opinion in the black community was generally divided upon release, with the film being called by some a "weapon of terror against black America" and an insult to black audiences, and demonstrations were held in various cities  Malcolm X later recalled that "when Butterfly McQueen went into her act, I felt like crawling under the rug"  Even so, some sections of the black community recognized McDaniel's achievements to be representative of progress: some African-Americans crossed picket lines and praised McDaniel's warm and witty characterization, and others hoped that the industry's recognition of her work would lead to increased visibility on screen for other black actors  In its editorial congratulation to McDaniel on winning her Academy Award, Opportunity: A Journal of Negro Life used the film as a reminder of the "limit" put on black aspiration by old prejudices 

Audience response
Upon its release, Gone with the Wind broke attendance records everywhere  At the Capitol Theatre in New York alone, it averaged eleven thousand admissions per day in late December, and within four years of its release had sold an estimated sixty million tickets across the United States—sales equivalent to just under half the population at the time  It repeated its success overseas, and was a sensational hit during the Blitz in London, opening in April 1940 and playing for four years  By the time MGM withdrew it from circulation, at the end of 1943, its worldwide distribution had returned a gross rental (the studio's share of the box office gross) of $32 million, making it the most profitable film ever made up to that point  It eventually opened in Japan in September 1952 and became the highest-grossing foreign film there 
Even though it earned its investors roughly twice as much as the previous record-holder, The Birth of a Nation, the box-office performances of the two films were likely much closer  The bulk of the earnings from Gone with the Wind came from its roadshow and first-run engagements, where the distributor received 70 percent and 50 percent of the box-office gross respectively, rather than its general release, which at the time typically saw the distributor's share set at 30–35 percent of the gross  In the case of The Birth of a Nation, its distributor, Epoch, sold off many of its distribution territories on a "states rights" basis—which typically amounted to 10 percent of the box-office gross—and Epoch's accounts are only indicative of its own profits from the film, and not the local distributors  Carl E  Milliken, secretary of the Motion Picture Producers and Distributors Association, estimated that The Birth of a Nation had been seen by fifty million people by 1930 When it was re-released in 1947, it earned an impressive $5 million rental in the United States and Canada, and was one of the top ten releases of the year  Successful re-releases in 1954 and 1961 enabled it to retain its position as the industry's top earner, despite strong challenges from more recent films such as Ben-Hur, but it was finally overtaken by The Sound of Music in 1966 The 1967 reissue was unusual in that MGM opted to roadshow it, a decision that turned it into the most successful re-release in the history of the industry  It generated a box-office gross of $68 million, making it MGM's most lucrative film after Doctor Zhivago from the latter half of the decade  MGM earned a rental of $41 million from the release, with the U S  and Canadian share amounting to over $30 million, placing it second only to The Graduate for that year  Including its $6 7 million rental from the 1961 reissue, it was the fourth highest-earner of the decade in the North American market, with only The Sound of Music, The Graduate and Doctor Zhivago making more for their distributors  A further re-release in 1971 allowed it to briefly recapture the record from The Sound of Music, bringing its total worldwide gross rental to about $116 million by the end of 1971—more than trebling its earnings from its initial release—before losing the record again the following year to The Godfather Across all releases, it is estimated that Gone with the Wind has sold over 200 million tickets in the United States and Canada, generating more theater admissions in that territory than any other film  The film was phenomenally successful in Western Europe too, generating approximately 35 million tickets in the United Kingdom and over 16 million in France, respectively becoming the biggest and sixth-biggest ticket-sellers in those markets  The film's appeal has endured overseas, sustaining a popularity similar to its domestic longevity; in 1975 it played to capacity audiences every night during the first three weeks of its run at London's Plaza 2 Theatre, and in Japan it generated over half a million admissions at twenty theaters during a five-week engagement  In total, Gone with the Wind has grossed over $390 million globally at the box office; in 2007 Turner Entertainment estimated the gross to be equivalent to approximately $3 3 billion when adjusted for inflation to current prices; Guinness World Records arrived at a figure of $3 44 billion in 2014 making it the most successful film in cinema history The film remains immensely popular with audiences into the 21st century, having been voted the most popular film in two nationwide polls of Americans undertaken by Harris Interactive in 2008, and again in 2014  The market research firm surveyed over two thousand U S  adults, with the results weighted by age, sex, race/ethnicity, education, region and household income so their proportions matched the composition of the adult population 

Critical re-evaluation
When revisiting the film in the 1970s, Arthur M  Schlesinger Jr  believed that Hollywood films generally age well, revealing an unexpected depth or integrity, but in the case of Gone with the Wind time has not treated it kindly  Richard Schickel argued that one measure of a film's quality is to ask what the viewer can remember of it, and the film falls down in this regard: unforgettable imagery and dialogue are simply not present  Stanley Kauffmann, likewise, also found the film to be a largely forgettable experience, claiming he could only remember two scenes vividly  Both Schickel and Schlesinger put this down to it being "badly written", in turn describing the dialogue as "flowery" and possessing a "picture postcard" sensibility  Schickel also believes the film fails as popular art, in that it has limited rewatch value—a sentiment that Kauffmann also concurs with, stating that having watched it twice he hopes "never to see it again: twice is twice as much as any lifetime needs"  Both Schickel and Andrew Sarris identify the film's main failing is in possessing a producer's sensibility rather than an artistic one: having gone through so many directors and writers the film does not carry a sense of being "created" or "directed", but rather having emerged "steaming from the crowded kitchen", where the main creative force was a producer's obsession in making the film as literally faithful to the novel as possible Sarris concedes that despite its artistic failings, the film does hold a mandate around the world as the "single most beloved entertainment ever produced"  Judith Crist observes that, kitsch aside, the film is "undoubtedly still the best and most durable piece of popular entertainment to have come off the Hollywood assembly lines", the product of a showman with "taste and intelligence"  Schlesinger notes that the first half of the film does have a "sweep and vigor" that aspire to its epic theme, but agreed with criticisms of the personal lives taking over in the second half, and how it ends up losing its theme in unconvincing sentimentality  Kauffmann also finds interesting parallels with The Godfather, which had just replaced Gone with the Wind as the highest-grosser at the time: both were produced from "ultra-American" best-selling novels, both live within codes of honor that are romanticized, and both in essence offer cultural fabrication or revisionism The critical perception of the film has shifted in the intervening years, which resulted in it being ranked 235th in Sight & Sound's prestigious decennial critics poll in 2012, and in 2015 sixty-two international film critics polled by the BBC voted it the 97th best American film 

Industry recognition
The film has featured in several high-profile industry polls  In 1977 it was voted the most popular film by the American Film Institute (AFI), in a poll of the organization's membership; the AFI also ranked the film fourth on its "100 Greatest Movies" list in 1998, with it slipping down to sixth place in the tenth anniversary edition in 2007  Film directors ranked it 322nd in the 2012 edition of the decennial Sight & Sound poll, and in 2016 it was selected as the ninth best "directorial achievement" in a Directors Guild of America members poll  In 2014, it placed fifteenth in an extensive poll undertaken by The Hollywood Reporter, which balloted every studio, agency, publicity firm and production house in the Hollywood region Gone with the Wind was one of the twenty-five inaugural films selected for preservation in the National Film Registry by the United States Library of Congress in 1989 for being "culturally, historically, or aesthetically significant" 

Analysis and controversies
Historical portrayal
Gone with the Wind has been criticized as having perpetuated Civil War myths and black stereotypes  David Reynolds wrote that "The white women are elegant, their menfolk are noble or at least dashing  And, in the background, the black slaves are mostly dutiful and content, clearly incapable of an independent existence " Reynolds likened Gone with the Wind to The Birth of a Nation and other re-imaginings of the South during the era of segregation, in which white Southerners are portrayed as defending traditional values, and the issue of slavery is largely ignored  The film has been described as a "regression" that promotes both the myth of the black rapist and the honorable and defensive role of the Ku Klux Klan during Reconstruction, and as a "social propaganda" film offering a "white supremacist" view of the past From 1972 to 1996, the Atlanta Historical Society held a number of Gone with the Wind exhibits, among them a 1994 exhibit which was titled "Disputed Territories: Gone with the Wind and Southern Myths"  One of the questions which was explored by the exhibit was "How True to Life Were the Slaves in GWTW?" This section showed that slave experiences were diverse and as a result, it concluded that the "happy darky" was a myth, as was the belief that all slaves experienced violence and brutality W  Bryan Rommel Ruiz has argued that despite factual inaccuracies in its depiction of the Reconstruction period, Gone with the Wind reflects contemporary interpretations of it that were common in the early 20th century  One such viewpoint is reflected in a brief scene in which Mammy fends off a leering freedman: a politician can be heard offering forty acres and a mule to the emancipated slaves in exchange for their votes  The inference is taken to mean that freedmen are ignorant about politics and unprepared for freedom, unwittingly becoming the tools of corrupt Reconstruction officials  While perpetuating some Lost Cause myths, the film makes concessions with regard to others  After the attack on Scarlett in the shanty town, a group of men including Scarlett's husband Frank, Rhett Butler, and Ashley raid the town; in the novel they belong to the Ku Klux Klan, representing the common trope of protecting the white woman's virtue, but the filmmakers consciously neutralize the presence of the Klan in the film by simply referring to it as a "political meeting" Thomas Cripps reasons that in some respects, the film undercuts racial stereotypes; in particular, the film created greater engagement between Hollywood and black audiences, with dozens of films making small gestures in recognition of the emerging trend  Only a few weeks after its initial run, a story editor at Warner wrote a memorandum to Walter Wanger about Mississippi Belle, a script that contained the worst excesses of plantation films, suggesting that Gone with the Wind had made the film "unproducible"  More than any film since The Birth of a Nation, it unleashed a variety of social forces that foreshadowed an alliance of white liberals and black people who encouraged the expectation that black people would one day achieve equality  According to Cripps, the film eventually became a template for measuring social change 

21st-century reappraisal
In the 21st century, criticism of the film's depictions of race and slavery led to its availability being curtailed  In 2017, Gone with the Wind was pulled from the schedule at the Orpheum Theatre in Memphis, Tennessee, after a 34-year run of annual showings  On June 9, 2020, the film was removed from HBO Max amid the George Floyd protests as well as in response to an op-ed written by screenwriter John Ridley that was published in that day's edition of the Los Angeles Times, which called for the streaming service to temporarily remove the film from its content library  He wrote that "it continues to give cover to those who falsely claim that clinging to the iconography of the plantation era is a matter of 'heritage, not hate' " A spokesperson for HBO Max said that the film was "a product of its time" and as a result, it depicted "ethnic and racial prejudices" that "were wrong then and are wrong today"  It was also announced that the film would return to the streaming service at a later date, although it would incorporate "a discussion of its historical context and a denouncement of those very depictions, but will be presented as it was originally created, because to do otherwise would be the same as claiming these prejudices never existed  If we are to create a more just, equitable and inclusive future, we must first acknowledge and understand our history "The film's removal sparked a debate about political correctness going too far, with film critics and historians criticizing HBO as engaging in censorship  Following its withdrawal, the film reached the top of Amazon's best-sellers sales chart for TV and films, and fifth place on Apple's iTunes Store film chart  HBO Max returned the film to its service later that month, with a new introduction by Jacqueline Stewart  Stewart described the film, in an op-ed for CNN, as "a prime text for examining expressions of white supremacy in popular culture", and said that "it is precisely because of the ongoing, painful patterns of racial injustice and disregard for Black lives that Gone with the Wind should stay in circulation and remain available for viewing, analysis and discussion " She described the controversy as "an opportunity to think about what classic films can teach us "At a political rally in February 2020, President Donald Trump criticized the 92nd Academy Awards ceremony, stating that Gone with the Wind and Sunset Boulevard (1950) were more deserving of the award for Best Picture than that year's winner, the South Korean film Parasite  His comments elicited commentary from critics and a backlash from pundits across the political spectrum on social media 

Depiction of marital rape
One of the most notorious and widely condemned scenes in Gone with the Wind depicts what is now legally defined as "marital rape"  The scene begins with Scarlett and Rhett at the bottom of the staircase, where he begins to kiss her, refusing to be told "no" by the struggling Scarlett; Rhett ignores her resistance, scolds her and carries her up the stairs to the bedroom, where the audience is left in no doubt that she will "get what's coming to her"  The next scene, the following morning, shows Scarlett glowing with barely suppressed sexual satisfaction; Rhett apologizes for his behavior, blaming it on his drinking  The scene has been accused of combining romance and rape by making them indistinguishable from each other, and of reinforcing a notion about forced sex: that women secretly enjoy it, and it is an acceptable way for a man to treat his wife Film critic Molly Haskell has argued that, nevertheless, for women who are uncritical of the scene, it is by and large consistent with what they have in mind if they fantasize about being raped  Their fantasies revolve around love and romance rather than forced sex; they will assume that Scarlett was not an unwilling sexual partner and wanted Rhett to take the initiative and insist on having sexual intercourse 

Legacy
In popular culture
Gone with the Wind and its production have been explicitly referenced, satirized, dramatized and analyzed on numerous occasions across a range of media, from contemporaneous works such as Second Fiddle—a 1939 film spoofing the "search for Scarlett"—to current television shows, such as The Simpsons  The Scarlett O'Hara War (a 1980 television dramatization of the casting of Scarlett), Moonlight and Magnolias (a 2007 play by Ron Hutchinson that dramatizes Ben Hecht's five-day re-write of the script), and "Went with the Wind!" (a sketch on The Carol Burnett Show that parodied the film in the aftermath of its television debut in 1976) are among the more noteworthy examples of its enduring presence in popular culture  It was also the subject of a 1988 documentary, The Making of a Legend: Gone with the Wind, detailing the film's difficult production history  In 1990, the United States Postal Service issued a stamp depicting Clark Gable and Vivien Leigh embracing in a scene from the film  In 2003, Leigh and Gable (as Scarlett and Rhett) were ranked number 95 on VH1's list of the "200 Greatest Pop Culture Icons of All Time" 

Sequel
Following the publication of her novel, Margaret Mitchell was inundated with requests for a sequel but she claimed not to have a notion of what happened to Scarlett and Rhett, and as a result, she had "left them to their ultimate fate"  Until her death in 1949, Mitchell continued to resist pressure to write a sequel from Selznick and MGM  In 1975, her brother, Stephens Mitchell (who assumed control of her estate), authorized a sequel that would be jointly produced by MGM and Universal Studios on a budget of $12 million  Anne Edwards was commissioned to write the sequel as a novel which would then be adapted into a screenplay, and published in conjunction with the film's release  Edwards submitted a 775-page manuscript which was titled Tara, The Continuation of Gone with the Wind, set between 1872 and 1882 and focusing on Scarlett's divorce from Rhett; MGM was not satisfied with the story and the deal collapsed The idea was revived in the 1990s, when a sequel was finally produced in 1994, in the form of a television miniseries  Scarlett was based on the novel by Alexandra Ripley, itself a sequel to Mitchell's book  British actors Joanne Whalley and Timothy Dalton were cast as Scarlett and Rhett, and the series follows Scarlett's relocation to Ireland after she again becomes pregnant by Rhett 

See also
List of films featuring slavery

Explanatory notes



ground_truth: Laurence Olivier

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

Question: What county shares a border with the county where She Did It's performer was born?

The following are given passages.
Context 3: 90% Indigenous (2 86% Lenca) and 0 04% Black or Afro-Honduran 

Tourism
As for the remaining 15 km, although this dirt road is not in the best condition, it is still an easy drive  A half-hour visit will be enough to see all there is to see in the municipality capital  For those who are interested in rural and quiet towns, this is a good place to visit  Surprisingly, the mobile phone signal from El Salvador is stronger than the Honduran signal  Since it is near the Lempa River, the local pastime is going there to bathe  The local holidays and festivals attract many visitors 

Local Holidays: "Santa Lucia" day on December 13 
Passage 7:
The Definitive Collection (Eric Carmen album)
The Definitive Collection is a 1997 greatest hits album of all the singles released by Cleveland, Ohio singer-songwriter Eric Carmen  It features five hits by the Raspberries, a power pop group which he led in the early 1970s  It also contains his versions of two major hits which he wrote for Shaun Cassidy, two popular songs from the movie Dirty Dancing, and his greatest hit, "All By Myself", which peaked at No  2 on the Billboard Hot 100 on March 5, 1976 

Critical reception
Stephen Thomas Erlewine of AllMusic writes, "The Definitive Collection lives up to its title  Over the course of a single disc, the compilation features all of Eric Carmen's best-known songs and biggest hits"

Track listing
Musicians
Eric Carmen – Bass, Drums, Guitar, Acoustic Guitar, Electric Guitar, Rhythm Guitar, Harpsichord, Mellotron, Percussion, Piano, Electric Piano, Synthesizer, Tack Piano, Vocals, Background Vocals
Jim Bonfanti – Drums, Vocals
Mike Botts – Drums
Ollie E  Brown – Percussion
Wally Bryson – Guitar, Acoustic Guitar, Rhythm Guitar, Vocals
Charles Calello – Horn Arrangements
Tony Camillo – Horn Arrangements
Burton Cummings – Piano
– Percussion
Jimmie Haskell – Horn Arrangements
James Newton Howard – Synthesizer
Dan Hrdlicka – Guitar, Background Vocals
Bruce Johnston – Background Vocals
Steve Knill – Bass, Background Vocals
Danny Kortchmar – Acoustic Guitar
D  Dwight Krueger – Drums, Percussion, Background Vocals
Michael McBride – Drums, Percussion, Vocals, Background Vocals
Scott McCarl – Bass, Acoustic Guitar, Vocals
Tommy Morgan – Harmonica
Nigel Olsson – Drums, Background Vocals
Joe Porcaro – Drums, Percussion
Richard Reising – Guitar, Electric Guitar, Harpsichord, Synthesizer, Background Vocals
Valerie Carter – Background Vocals
Joe Chemay – Background Vocals
Curt Becher – Background Vocals
Brenda Russell – Background Vocals
Brian Russell – Background Vocals
Samantha Sang – Background Vocals
George Sipl – Organ, Synthesizer, Background Vocals
Dave Smalley – Bass, Rhythm Guitar, Vocals
Jai Winding – Piano, Electric Piano
Dave Wintour – Bass
Richie Zito – Electric Guitar

Production
Eric Carmen – Arranger, Producer
Bob Irwin – Compilation Producer, Mastering, Producer
Bob Gaudio – Producer
Jimmy Ienner – Executive Producer, Producer
Tom Rabstenek – Mastering
George Marino – Mastering
Greg Calbi – Mastering
Doug Sax – Mastering
Bernie Grundman – Mastering
Mark Howlett – Engineer
Tim Kramer – Engineer
Jim Bell – Engineer
Kevin Beamish – Engineer
Arnei Rosenberg – Engineer
Shelly Yakus – Engineer
Howard Steele – Engineer
Thom Wilson – Engineer
Jack Sherdel – Engineer
Dennis Kirk – Engineer
David Henson – Engineer
Don Gehman – Engineer
Larry Emerine – Engineer
Tony d'Amico – Engineer
Jim DeMain – Engineer, Remixing
Val Garay – Mixing
Joe Barbaria – Assistant Engineer
Rod O'Brien – Assistant Engineer
George Ybara – Assistant Engineer
Corky Stasiak – Assistant Engineer
David Thoener – Assistant Engineer
Kevin Herron – Assistant Engineer
Dennis Ferrante – Assistant Engineer
George Sipl – Remixing
Rita Karidis – Art DirectionTrack information and credits adapted from AllMusic and the album's liner notes 
Passage 8:
Swan Miara
Swan Miara (ساون میرا) is a village and union council (an administrative subdivision) of Mansehra District in Khyber-Pakhtunkhwa province of Pakistan  It is located in the south of the district where it borders Abbottabad District Formerly it was a part of the Princely State of Amb 
Passage 9:
States of Nigeria
Nigeria is a federation of 36 states and 1 federal capital territory  Each of the 36 states is a semi-autonomous political unit that shares powers with the federal government as enumerated under the Constitution of the Federal Republic of Nigeria  The Federal Capital Territory (FCT), is the capital territory of Nigeria, and it is in this territory that the capital city of Abuja is located  The FCT is not a state but is administered by elected officials who are supervised by the federal government  Each state is subdivided into local government areas (LGAs)  There are 774 local governments in Nigeria  Under the constitution, the 36 states are co-equal but not supreme because sovereignty resides with the federal government  The constitution can be amended by the National Assembly, but each amendment must be ratified by two-thirds of the 36 states of the federation 

Current states and the Federal Capital Territory
Evolution of Nigerian states
Government
States of Nigeria have the right to organize and structure their individual governments in any way within the parameters set by the Constitution of Nigeria 

Legislature
At the state level, the legislature is unicameral, with the number of its members equal to three times the number of legislators it has in the Federal House of Representatives  It has the power to legislate on matters on the concurrent list 

Executive
At the state level, the head of the executive is the governor, who has the power to appoint people to the state executive council, subject to the advice and consent of the state house of assembly (legislature)  The head of a ministry at the state level is the commissioner, who is assisted by a permanent secretary, who is also a senior civil servant of the state 

Judiciary
The Judiciary is one of the co-equal arms of the state government concerned with the interpretation of the laws of the state government  The judiciary is headed by the chief justice of the state appointed by the governor subject to the approval of the state house of assembly 

Chronology
See also
List of Nigerian states by population
ISO 3166-2:NG
List of state governors of Nigeria

Notes
Sources
Gboyega Ajayi (2007)  The military and the Nigerian state, 1966–1993: a study of the strategies of political power control  Trenton, New Jersey: Africa World Press  ISBN 978-1-59221-568-3 
Solomon Akhere Benjamin (1999)  The 1996 state and local government reorganizations in Nigeria  Ibadan: Nigerian Institute of Social and Economic Research  ISBN 978-181-238-9 
Rotimi T  Suberu (1994)  1991 state and local government reorganizations in Nigeria  Ibadan: Institute of African Studies, University of Ibadan  ISBN 978-2015-28-8 

External links
"New States of Nigeria"  Statoids 
Headline News in Nigeria Archived 2018-08-20 at the Wayback Machine StatesStates And Capital In Nigeria, Their Slogans & Current Governors A comprehensive list of all states in Nigeria and their current governors 
Passage 10:
Adaba (woreda)
Adaba (Oromo: Aadabbaa) is one of the Aanaas in the Oromia of Ethiopia; it shares the name of its administrative center, Adaba  Part of the West Arsi Zone, Adaba is bordered on the southwest by Nensebo, on the west by Dodola, on the northwest by the Shabelle River which separates it from the Gedeb Asasa, and on the east and south by Bale Zone 
Ulrich Braukämper theorizes that the name "Adaba" comes from a Hadiya subgroup mentioned in the Royal Chronicle of Zara Yaqob, where they are referred to as the "Hababo"  Braukämper has argued that the Hadiya kingdom prior to the 16th century included in this area, presenting a number of facts supporting his argument, as opposed to other experts who argue that it extended to the east 

Overview
The highest point in this woreda is Mount Darkeena; other notable peaks include Mount Doda and Mount Gamma; most rivers are tributaries of the Shabelle River and include the Meribo, Ieliso, Furuna, Ashiro and Mancha Kara  A survey of the land in this woreda shows that 16 9% is arable or cultivable, 23 3% pasture, 52 2% forest, and the remaining 7 6% is considered swampy, mountainous or otherwise unusable  Notable landmarks include Bale Mountains National Park  Linseed, sugar cane, cereals and fruits and vegetables are important cash crops Industry in the woreda includes 39 grain mills, 12 edible oil mills and 5 wood-working shops, as well as 91 wholesalers, 271 retailers and 153 service providers  There were 19 Farmers Associations with 43,154 members and 5 Farmers Service Cooperatives with 3454 members  Adaba has 6 kilometers of dry-weather and 91 all-weather road, for an average of road density of 42 kilometers per 1000 square kilometers 

Demographics
The 2007 national census reported a total population for this woreda of 138,717, of whom 68,775 were men and 69,942 were women; 12,099 or 8 72% of its population were urban dwellers  The majority of the inhabitants were Muslim, with 84 39% of the population reporting they observed this belief, while 14 46% of the population said they practiced Ethiopian Orthodox Christianity Based on figures published by the Central Statistical Agency in 2005, this woreda has an estimated total population of 138,232, of whom 70,638 were males and 67,594 were females; 17,875 or 12 93% of its population are urban dwellers, which is less than the Zone average of 13 5%  With an estimated area of 2,166 41 square kilometers, Adaba has an estimated population density of 63 8 people per square kilometer, which is greater than the Zone average of 27 The 1994 national census reported a total population for this woreda of 97,586, of whom 47,820 were men and 49,766 women; 9,997 or 10 24% of its population were urban dwellers at the time  The two largest ethnic groups reported in Adaba were the Oromo (93%), and the Amhara (5 49%); all other ethnic groups made up 1 51% of the population  oromo was spoken as a first language by 91 88%, and 7 49% spoke Amharic; the remaining 0 63% spoke all other primary languages reported  The majority of the inhabitants were Muslim, with 79 97% of the population having reported they practiced that belief, while 19 26% of the population said they professed Ethiopian Orthodox Christianity 


== Notes ==
Passage 11:
Cleveland, North Carolina
Cleveland is a town in the Cleveland Township of Rowan County, North Carolina, United States  The population was 871 at the 2010 census 

History
The town dates from 1831 but was not incorporated until 1833   The first post office in Cleveland, Cowansville, was established in 1831   By 1850, prior to the US Civil War and the completion of the Western Carolina Railroad, the town was named Rowan Mills   Rowan Mills was named for the five story flour mill that Osborn Giles Foard owned in Cleveland   The Rowan Mills Post Office served the area north of the rail line and extended into Scotch Irish Township after the Civil War in 1870   The town and post office kept the name Rowan Mills until 1876 when it was renamed Third Creek Station   In the 1880 U S  Census, there were 17 families and 89 persons living in the Village of Third Creek Station   It was not until 1884 that the townspeople renamed the town after Grover Cleveland, who is supposed to have visited the town during his presidential campaign 

Geography
Cleveland is located at 35°43′52″N 80°40′44″W (35 731021, -80 678963) According to the United States Census Bureau, the town has a total area of 1 5 square miles (3 9 km2), all  land 

Demographics
2020 census
As of the 2020 United States census, there were 846 people, 392 households, and 283 families residing in the town 

2010 census
As of the census of 2010, there were 871 people, 328 households, and 236 families residing in the town  The population density was 580 7 inhabitants per square mile (224 2/km2)  There were 377 housing units at an average density of 251 3 per square mile (97 0/km2)  The racial makeup of the town was 66 9% White, 24 1% African American, 5 4% from other races, and 3 6% from two or more races  Hispanic or Latino of any race were 6 5% of the population 
There were 328 households, out of which 34 1% had children under the age of 18 living with them, 47 6% were married couples living together, 16 5% had a female householder with no husband present, and 28 0% were non-families  24 1% of all households were made up of individuals, and 9 4% had someone living alone who was 65 years of age or older  The average household size was 2 66 and the average family size was 3 10 
In the town, the population was spread out, with 28 4% under the age of 18, 7 2% from 18 to 24, 29 3% from 25 to 44, 23 4% from 45 to 64, and 11 7% who were 65 years of age or older  The median age was 34 8 years  For every 100 females, there were 95 3 males  For every 100 females age 18 and over, there were 90 2 males 
The median income for a household in the town was $39,474, and the median income for a family was $58,000  Males had a median income of $51,000 versus $29,500 for females  The per capita income for the town was $19,506  About 13 1% of families and 20 5% of the population were below the poverty line, including 25 0% of those under age 18 and 8 9% of those age 65 or over 

Town twinning / sister city
Since February 8, 2008, Cleveland has been twinned with Killyleagh, Northern Ireland 

See also
Cleveland Township
2007 Freightliner wildcat strike
Passage 12:
Oak Lawn, Illinois
Oak Lawn is a village in Cook County, Illinois, United States   The population was 58,362 at the 2020 census  Oak Lawn is a suburb of Chicago, located southwest of the city  It shares borders with the city in two areas but is surrounded mostly by other suburbs 

History
Founding
In August 1835, James B  Campbell purchased the land stretching between Cicero Avenue and Central Avenue from 95th Street to 103rd Street  It is unclear what Campbell's intentions with the area were, but by 1840, he had lost a court battle with the Illinois State Bank and his land was sold in a public auction  John Simpson, a prominent figure in early Oak Lawn history, bought the northern half of the property in 1842  By 1859, the recently incorporated government of Worth Township paid for the construction of Black Oak Grove Road, an early name for 95th Street  Black Oak Grove is also the earliest known name of the area that would become Oak Lawn  It was later shortened to Black Oak or Black Oaks, but in 1882, the post office, train depot and surrounding community became known simply as Oak Lawn  Before this however, the area now known as Oak Lawn was, briefly during the early 1800s, called Agnes  It was also on some occasion referred to as Oak Park  Over the next two decades, the area grew in population as more homes were built and local business sprang into being  As the area continued to grow, many residents visited Englewood by train to shop  Oak Lawn residents also made income during early days by selling their farm and dairy products to various markets in Chicago 

Incorporation
In 1909, Oak Lawn was incorporated as a village  The following years, there were major improvements to local infrastructure and government services, such as the introduction of the police magistrate and village marshal, along with the building of a village hall and jailhouse  Electric lights were brought to 95th Street in 1911, the volunteer fire department began in 1923, Oak Lawn's first bank opened in 1925, and the Community High School District 218 was formed  The population had grown to 2,045 by 1930, and civic improvements were steadily made over the next decade  In 1934, a collection of one hundred books was the beginning of the Oak Lawn Public Library  By 1935, President Franklin D  Roosevelt created the Works Progress Administration as part of the New Deal, which supported a variety of public works, including libraries  With the help of a WPA grant, the new library opened its doors in 1936 

Post 1945
After World War II, with veterans returning home and taking advantage of the G I  Bill, Oak Lawn experienced a major population boom  Beginning in 1949, Oak Lawn Round-Up Days became an annual event and helped to promote the village  It started with 25,000 people, and the Western-themed celebration brought in over 100,000 attendees in 1952  In this year, Jack Brickhouse was master of ceremonies, and the parade was televised on WGN-TV  By 1957, Round-Up Days had become too large, and the next year a final scaled-down version was held In the 1950s, a village managerial government began, and a new library and fire station were constructed  By 1960, there were nearly 20,000 residents in Oak Lawn 
On April 21, 1967, a tornado touched down in Oak Lawn that is recorded as one of the worst to strike an urban area  Roughly 900 buildings were damaged or destroyed, and over 30 people were killed 
The town was rebuilt in the coming years, and witnessed further population growth, peaking at 63,500 between 1973 and 1976  However, there was a decrease in residents in the 1980s, and an aging population led to the closure of several schools during this time  In response, the village began a process of redevelopment to counteract the decrease  This redevelopment has focused primarily on businesses and structures in the core area of Oak Lawn, around 95th Street between Cicero Avenue and Central Avenue 

1967 tornado
On April 21, 1967, an F4 tornado touched down at 105th Street and Kean Avenue in Palos Hills, 5 miles (8 km) west of Oak Lawn  There were no deaths in Palos Hills, although a number of homes were destroyed and two transmission towers collapsed  After rising from the ground, the tornado touched down again at the Starlite Drive-In Theater at 6400 West 95th Street  With winds estimated to be over 200 miles per hour (320 km/h), the tornado tore through Oak Lawn, tossing cars and buses in the air  After cutting Oak Lawn Community High School in half, it caused damage to St  Gerald's and continued to 91st Street and Cicero Avenue, heavily damaging the Airway Trailer Park and the Oak Lawn Roller Rink before rising from ground level  It touched down again in nearby Hometown, Evergreen Park, and Chicago before dissipating over Lake Michigan  In just 16 minutes, the storm left a 16-mile (26 km) path of destruction and over 30 people dead 

Downtown redevelopment
Starting in 2002, downtown Oak Lawn (95th Street between Tulley Avenue and 55th Court) became the target of a massive redevelopment program; properties on the north and south sides of 95th Street were demolished  Eventually, several square blocks were leveled, making room for several multistory, high-end condominium complexes with retail space on the main floors  Part of the project was the expansion of the Metra commuter train station that houses a retail/office center and a new  children's museum  This complex also includes a multistory parking garage  Downtown Oak Lawn as seen today bears little resemblance to the downtown from 2002  It now features modern high-rise buildings, new shopping areas, a large contemporary Metra train station, and several new retail and service facilities 

Geography
According to the 2010 census, Oak Lawn has a total area of 8 59 square miles (22 25 km2), all land 

Demographics
As of the 2020 census there were 58,362 people, 21,154 households, and 13,544 families residing in the village  The population density was 6,809 24 inhabitants per square mile (2,629 06/km2)  There were 23,362 housing units at an average density of 2,725 70 per square mile (1,052 40/km2)  The racial makeup of the village was 68 31% White, 7 65% African American, 0 87% Native American, 2 83% Asian, 0 02% Pacific Islander, 9 43% from other races, and 10 89% from two or more races  Hispanic or Latino of any race were 22 56% of the population 
There were 21,154 households, out of which 48 24% had children under the age of 18 living with them, 46 89% were married couples living together, 11 64% had a female householder with no husband present, and 35 97% were non-families  32 16% of all households were made up of individuals, and 15 73% had someone living alone who was 65 years of age or older  The average household size was 3 33 and the average family size was 2 60 
The village's age distribution consisted of 21 7% under the age of 18, 7 0% from 18 to 24, 25 3% from 25 to 44, 27 6% from 45 to 64, and 18 5% who were 65 years of age or older  The median age was 41 0 years  For every 100 females, there were 96 5 males  For every 100 females age 18 and over, there were 91 8 males 
The median income for a household in the village was $69,352, and the median income for a family was $90,690  Males had a median income of $54,168 versus $38,363 for females  The per capita income for the village was $33,998  About 7 5% of families and 10 1% of the population were below the poverty line, including 13 2% of those under age 18 and 9 6% of those age 65 or over 

Parks and recreation
Oak Lawn maintains an expansive park system  From small corner play lots to the 38-acre (150,000 m2) Centennial Park, there are over 300 acres (1 2 km2) of parks, recreational facilities and open land  These include playgrounds, walking paths, baseball fields, basketball, volleyball and tennis courts, plus outdoor swimming pools, an indoor ice arena, two fitness centers, and an 18-hole golf course  Each area in Oak Lawn has its own recreational area, totaling 22 parks 

Education
Oak Lawn has public education schooling children from K–5 in its many elementary schools, including Kolb, Lieb, Harnew, Columbus Manor, Covington, Hannum, Hometown, Kolmar, and Sward  Oak Lawn has two public middle schools:  Simmons Middle School, and Oak Lawn-Hometown Middle School 
There are two public high schools, Oak Lawn Community High School and Harold L  Richards High School 
The Roman Catholic Archdiocese of Chicago operates Catholic schools  Catholic grammar schools include St  Germaine, St  Catherine, St  Linus, and St  Gerald  St  Louis de Montfort School closed in 2017 with 133 students that year 

Infrastructure
Stop sign program
In mid-2007, Oak Lawn began hanging additional messages to village stop signs in an attempt to have drivers obey the signs  The signs were the idea of the village President and local residents were encouraged to submit their own ideas  Found throughout the village, the signs garnered attention with the press and were not well received by residents, nor did they noticeably impact public safety  While considered humorous by some, many others considered it a publicity stunt at tax payer's expense The Federal Highway Administration (FHWA) and IDOT voiced their concerns about the use of these nonconforming stop signs and the village removed them in April 2008  Initially, the Village President refused to remove the signs until IDOT threatened to withhold millions of dollars in funding for infrastructure 

Notable people
Diandra Asbaty (born 1980), professional bowler; Team USA member and spokesperson for USBC
Brian Bogusevic (born 1984), former outfielder for Chicago Cubs
Tim Byrdak (born 1973), Major League Baseball pitcher 1998 to 2013; born in Oak Lawn
Kevin Cronin (born 1951), lead vocalist for rock band REO Speedwagon
David Diehl (born 1980), football player, two-time Super Bowl champion for New York Giants
Mark Donahue, football player, lineman for Cincinnati Bengals, two-time Consensus All-American at University of Michigan
Dan Donegan, guitarist for rock band Disturbed
John Joseph Duda, actor; born in Oak Lawn
Michael Flatley (born 1958), Irish step dancer; attended St  Linus and Brother Rice High School
Jack Gwynne, illusionist and actor, died in Oak Lawn (1969)
David A  Johnston, volcanologist, killed during 1980 Mount St  Helens eruption
Benn Jordan, recording artist known as The Flashbulb; attended Oak Lawn Community High School
C J  Kupec, basketball player, Oak Lawn High School star, played for Michigan and NBA's Los Angeles Lakers
Rob Mackowiak, player for several Major League Baseball teams
Bobby Madritsch, former pitcher for Seattle Mariners
Rory Markham, UFC and IFL mixed martial arts fighter
Mike Mollo, heavyweight boxer
Bryan Rekar, former pitcher for Colorado Rockies, Tampa Bay Devil Rays, and Kansas City Royals; born in Oak Lawn
Michael A  Ruddy, Illinois state representative and businessman, lived in Oak Lawn
Marc Rzepczynski, pitcher for Seattle Mariners; born in Oak Lawn
Dwyane Wade, former NBA player and three-time NBA champion with Miami Heat, attended Richards High School in Oak Lawn
Harry Yourell, Illinois state representative and businessman
Kanye West, musician, rapper, singer, songwriter, record producer, and fashion designer
Juice WRLD, rapper, died in Oak Lawn (2019)
Passage 13:
Gold Hill, North Carolina
Gold Hill is an unincorporated community and census-designated place (CDP) in southeastern Rowan County, North Carolina, United States near the Cabarrus County line  It was first listed as a CDP in the 2020 census with a population of 372  It is situated near the Yadkin River and is served by U S  Highway 52 and Old Beatty Ford Road  Gold was found in this small town outside Salisbury in the 19th century 

Mining
Gold was first discovered in what would become the town of Gold Hill in southeastern Rowan County in 1824  $6 million in gold was mined here prior to the Civil War and a mint was located in Charlotte as a result  In the 1840s, Gold Hill was "a raucous mining camp town with a considerable number of saloons and brothels " The Barnhardt shaft, named for Col  George Barnhardt of the Reed Mine (NC State Historic Site) family, was opened in 1842 and reached a depth of 435 feet  The Earnhardt/Randolph Mine Shaft was opened in 1843 across the street from the Barnhardt Mine and reached a depth of 850 feet becoming the deepest gold mine in the United States  The Barnhardt and Randolph mines together were described as "the richest and most productive gold mines east of the Mississippi"  Gold Hill was incorporated in 1843 and had a population of 3000 people and a total of 23 mines in the Gold Hill Mining District  The California Gold Rush and the American Civil War significantly reduced the mining activity  Although some mining occurred in the years following the Civil War a greater resurgence of mining began with the purchase of the Gold Hill Mines and the establishment of 'The New Gold Hill Mining Company' based in London, England  Considerable profits were realized with gold being shipped to England during the period of 1880-1900  Production came to an end by 1915 

Tourist attraction
The town's first Founders' Day, which was not called by that name, took place in 1989 and was not intended to become an annual event, but it ended up being so popular that a steering committee was formed for the purpose of starting a foundation to find and preserve the town's heritage  The Historic Gold Hill and Mines Foundation, Inc  began in 1992, and that year, a second Founders' Day took place  Gold Hill Mines Historic Park began with a donation of 16 acres by Billie Johnson and was dedicated in 1993; by the 25th Founders' Day it was 70 acres  Founders' Day became an annual event on the fourth Saturday in September, and they were moved from the fire department to the park located  at 735 St  Stephens Church Road E H  Montgomery General Store, Mauney’s Store, the jail and a rock wall date back to the 1840s  Several buildings were moved to and restored for what has been described as a "re-creation" of a historic village  A gas station built in 1928 was moved from U S  52 in 1998  The File Store from Craven, North Carolina near Salisbury was built in 1906 and moved to Gold Hill in 2001  A miner's cabin was moved to Gold Hill in 2011 and became a bakery The Daniel Isenhour House and Farm was listed on the National Register of Historic Places in 2000 Website: https://historicgoldhill org

Demographics
2020 census
Note: the US Census treats Hispanic/Latino as an ethnic category  This table excludes Latinos from the racial categories and assigns them to a separate category  Hispanics/Latinos can be of any race 



ground_truth: Cabarrus County