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

Question: Where did the producer of Julius Caesar study or work?

The following are given passages.
Context 1: Passage 1:
John Houseman
John Houseman (born Jacques Haussmann; September 22, 1902 – October 31, 1988) was a Romanian-born British-American actor and producer of theatre, film, and television  He became known for his highly publicized collaboration with director Orson Welles from their days in the Federal Theatre Project through to the production of Citizen Kane and his collaboration, as producer of The Blue Dahlia, with writer Raymond Chandler on the screenplay  He won the Academy Award for Best Supporting Actor for his portrayal of Professor Charles W  Kingsfield in the 1973 film The Paper Chase  He reprised the role of Kingsfield in the 1978 television series adaptation 

Early life
Houseman was born Jacques Haussmann on September 22, 1902, in Bucharest, Romania, the son of May (née Davies) a governess and Georges Haussmann, who ran a grain business  His mother was British, from a Christian family of Welsh and Irish descent  His father was an Alsatian-born Jew  He was educated in England at Clifton College, became a British subject, and worked in the grain trade in London before emigrating to the United States in 1925, where he took the stage name of John Houseman  He became a United States citizen in 1943 

Theatre producer
Houseman worked as a speculator in the international grain markets, only turning to the theater following the 1929 stock market crash 
On Broadway he co-wrote Three and One (1933) and And Be My Love (1934)  Composer Virgil Thomson recruited him to direct Four Saints in Three Acts (1934), Thomson's collaboration with Gertrude Stein  He later directed The Lady from the Sea (1934) and Valley Forge (1934) 

Collaboration with Orson Welles
In 1934, Houseman was looking to cast Panic, a play he was producing based on a drama by Archibald MacLeish concerning a Wall Street financier whose world crumbles about him when consumed by the crash of 1929  Although the central figure is a man in his late fifties, Houseman became obsessed by the notion that a young man named Orson Welles he had seen in Katharine Cornell's production of Romeo and Juliet was the only person qualified to play the leading role  Welles consented and, after preliminary conversations, agreed to leave the play he was in after a single night to take the lead in Houseman's production  Panic opened at the Imperial Theatre on March 15, 1935  Among the cast was Houseman's ex-wife, Zita Johann, who had co-starred with Boris Karloff three years earlier in Universal's The Mummy 
Although the play opened to indifferent notices and ran for a mere three performances, it nevertheless led to the forging of a theatrical team, a fruitful but stormy partnership in which Houseman said Welles "was the teacher, I, the apprentice "
He supervised the direction of Walk Together Chillun in 1936 

Federal Theatre Project
In 1936, the Federal Theatre Project of the Works Progress Administration put unemployed theatre performers and employees to work  The Negro Theatre Unit of the Federal Theatre Project was headed by Rose McClendon, a well-known black actress, and Houseman, a theatre producer  Houseman describes the experience in one of his memoirs:

Within a year of its formation, the Federal Theatre had more than fifteen thousand men and women on its payroll at an average wage of approximately twenty dollars a week  During the four years of its existence its productions played to more than thirty million people in more than two hundred theatres as well as portable stages, school auditoriums and public parks the country over 

Macbeth (1936)
Houseman immediately hired Welles and assigned him to direct Macbeth for the FTP's Negro Theater Unit, a production that became known as the "Voodoo Macbeth", as it was set in the Haitian court of King Henri Christophe (and with voodoo witch doctors for the three Weird Sisters) and starred Jack Carter in the title role  The incidental music was composed by Virgil Thomson  The play premiered at the Lafayette Theatre on April 14, 1936, to enthusiastic reviews and remained sold out for each of its nightly performances  The play was regarded by critics and patrons as an enormous, if controversial, success  After 10 months with the Negro Theater Project, however, Houseman felt he was faced with the dilemma of risking his future:

    on a partnership with a 20-year-old boy in whose talent I had unquestioning faith but with whom I must increasingly play the combined and tricky roles of producer, censor, adviser, impresario, father, older brother and bosom friend 
Houseman later produced for the Negro Theatre Unit Turpentine (1936) without Welles 
In 1936, Houseman and Welles were running a WPA unit in midtown Manhattan for classic productions called Project No  891  Their first production was Christopher Marlowe's Tragical History of Dr  Faustus which Welles directed while also playing the title role 
Houseman and Welles put on Horse Eats Hat (1936)  Houseman, without Welles, helped in the direction of Leslie Howard's production of Hamlet (1936) 

The Cradle Will Rock (1937)
In June 1937, Project No  891 produced their most controversial work with The Cradle Will Rock  Written by Marc Blitzstein, the musical was about Larry Foreman, a worker in Steeltown (played in the original production by Howard da Silva), which is run by the boss, Mister Mister (played in the original production by Will Geer)   The show was thought to have had left-wing and unionist sympathies (Foreman ends the show with a song about "unions" taking over the town and the country), and became legendary as an example of a "censored" show  Shortly before the show was to open, FTP officials in Washington announced that no productions would open until after July 1, 1937, the beginning of the new fiscal year 
In his memoir, Run-Through, Houseman wrote about the circumstances surrounding the opening night at the Maxine Elliott Theatre  All the performers had been enjoined not to perform on stage for the production when it opened on July 14, 1937  The cast and crew left their government-owned theatre and walked 20 blocks to another theatre, with the audience following  No one knew what to expect; when they got there Blitzstein himself was at the piano and started playing the introduction music  One of the amateur performers, Olive Stanton, who played the part of Moll, the prostitute, stood up in the audience, and began singing her part  All the other performers, in turn, stood up for their parts  Thus the "oratorio" version of the show was born  Apparently, Welles had designed some intricate scenery, which ended up never being used  The event was so successful that it was repeated several times on subsequent nights, with everyone trying to remember and reproduce what had happened spontaneously the first night  The incident, however, led to Houseman being fired and Welles's resignation from Project No  891 

Mercury Theatre
That same year, 1937, after detaching themselves from the Federal Theatre Project, Houseman and Welles did The Cradle Will Rock as an independent production on Broadway  They also founded the acclaimed New York drama company, the Mercury Theatre  Houseman wrote of their collaboration at this time:

On the broad wings of the Federal eagle, we had risen to success and fame beyond ourselves as America's youngest, cleverest, most creative and audacious producers to whom none of the ordinary rules of the theater applied 
Armed with a manifesto written by Houseman declaring their intention to foster new talent, experiment with new types of plays, and appeal to the same audiences that frequented the Federal Theater the company was designed largely to offer plays of the past, preferably those that "   seem to have emotion or factual bearing on contemporary life "  The company mounted several notable productions, the most remarkable being its first commercial production of Julius Caesar   Houseman called the decision to use modern dress "an essential element in Orson's conception of the play as a political melodrama with clear contemporary parallels "
Houseman and Welles later presented The Shoemaker's Holiday (1938), Heartbreak House (1938) and Danton's Death (1938) 

Radio
Beginning in the summer of 1938, the Mercury Theatre was featured in a weekly dramatic radio program on the CBS network, initially promoted as First Person Singular before gaining the official title The Mercury Theatre on the Air  An adaptation of Treasure Island was scheduled for the program's first broadcast, for which Houseman worked feverishly on the script  However, a week before the show was to air, Welles decided that a program far more dramatic was required  To Houseman's horror, Treasure Island was abandoned in favor of Bram Stoker's Dracula, with Welles playing the infamous vampire  During an all night session at Perkins' Restaurant, Welles and Houseman hashed out a script The Mercury Theatre on the Air featured an impressive array of talents, including Agnes Moorehead, Bernard Herrmann, and George Coulouris 

"The War of the Worlds" (1938)
The Mercury Theatre on the Air subsequently became famous for its notorious 1938 radio adaptation of H  G  Wells' The War of the Worlds, which had put much of the country in a panic  By all accounts, Welles was shocked by the panic that ensued  According to Houseman, "he hadn't the faintest idea what the effect would be"  CBS was inundated with calls; newspaper switchboards were jammed 
Without Welles, Houseman staged Douglas Moore's The Devil and Daniel Webster (1939) 

Film producer
Too Much Johnson (1938)
While Houseman was teaching at Vassar College, he produced Welles' never-completed second short film, Too Much Johnson (1938)  The film was never publicly screened and no print of the film was thought to have survived  Footage was rediscovered in 2013 

Citizen Kane (1941)
The Welles-Houseman collaboration continued in Hollywood  In the spring of 1939, Welles began preliminary discussions with RKO's head of production, George Schaefer, with Welles and his Mercury players being given a two-picture deal, in which Welles would produce, direct, perform, and have full creative control of his projects 
For his motion picture debut, Welles first considered adapting Joseph Conrad's Heart of Darkness for the screen  A 200-page script was written  Some models were constructed, while the shooting of initial test footage had begun  However, little, if anything, had been done either to whittle down the budgetary difficulties or begin filming  When RKO threatened to eliminate the payment of salaries by December 31 if no progress had been made, Welles announced that he would pay his cast out of his own pocket  Houseman proclaimed that there wasn't enough money in their business account to pay anyone  During a corporate dinner for the Mercury crew, Welles exploded, calling his partner a "bloodsucker" and a "crook"  As Houseman attempted to leave, Welles began hurling dish heaters at him, effectively ending both their partnership and friendship 
Houseman later, however, played a pivotal role in ushering Citizen Kane (1941), which starred Welles  Welles telephoned Houseman asking him to return to Hollywood to "babysit" screenwriter Herman J  Mankiewicz while he completed the script, and keep him away from alcohol  Still drawn to Welles, as was virtually everyone in his sphere, Houseman agreed  Although Welles took credit for the screenplay of Kane, Houseman stated that the credit belonged to Mankiewicz, an assertion that led to a final break with Welles  Houseman took some credit himself for the general shaping of the story line and for editing the script  In an interview with Penelope Huston for Sight & Sound magazine (Autumn, 1962) Houseman said that the writing of Citizen Kane was a delicate subject:

I think Welles has always sincerely felt that he, single-handed, wrote Citizen Kane and everything else that he has directed—except, possibly, the plays of Shakespeare  But the script of Kane was essentially Mankiewicz's  The conception and the structure were his, all the dramatic Hearstian mythology and the journalistic and political wisdom he had been carrying around with him for years and which he now poured into the only serious job he ever did in a lifetime of film writing  But Orson turned Kane into a film: the dynamics and the tensions are his and the brilliant cinematic effects—all those visual and aural inventions that add up to make Citizen Kane one of the world's great movies—those were pure Orson Welles 
In 1975, during an interview with Kate McCauley, Houseman stated that film critic Pauline Kael in her essay "Raising Kane", had caused an "idiotic controversy" over the issue: "The argument is Orson's own fault  He wanted to be given all the credit because he's a hog  Actually, it is his film  So it's a ridiculous argument "

Return to the theatre
After he and Welles went their separate ways, Houseman went on to direct The Devil and Daniel Webster (1939) and Liberty Jones (1941) and produced the Mercury Theatre's stage production of Native Son (1941) on Broadway, directed by Welles 

David O  Selznick
In Hollywood he became a vice-president of David O  Selznick Productions  His most notable achievement during that time was helping adapt and produce the adaptation of Jane Eyre (1943) which starred Joan Fontaine and Welles 

World War II
In the aftermath of the attack on Pearl Harbor, Houseman quit his job and became the head of the overseas radio division of the Office of War Information (OWI), working for the Voice of America whilst also managing its operations in New York City 

Paramount
In 1945 Houseman signed a contract with Paramount Pictures to produce movies  His first credit for that studio was The Unseen (1945)  He followed it with Miss Susie Slagle's (1945) and The Blue Dahlia (1946), both with Veronica Lake  The latter, starring Alan Ladd and written by Raymond Chandler, has become a classic 
He left Paramount and returned to Broadway to direct Lute Song (1946) with Mary Martin 
Back in Hollywood he produced Letter from an Unknown Woman (1948) for Max Ophuls at Universal 

RKO
Houseman went to RKO where he produced They Live by Night (1948) the directorial debut of Nicholas Ray  He also did The Company She Keeps (1949) and On Dangerous Ground (1951) 
He returned to Broadway to produce Joy to the World (1949) and King Lear (1950-51), the latter with Louis Calhern 

MGM
RKO's head of production had been Dore Schary  When Schary moved to MGM he offered Houseman a contract at the studio, which the producer accepted 
Houseman's stint at MGM began with Holiday for Sinners (1952); then he had a huge success with The Bad and the Beautiful (1952), directed by Vincente Minnelli  He followed it with the film adaptation of Julius Caesar (1953) (for which he received an Academy Award nomination for Best Picture)
Also popular was Executive Suite (1954), a highly creative adaptation by Ernest Lehman of Cameron Hawley's bestselling novel  However, although Her Twelve Men (1954), Minnelli's The Cobweb (1955) and Fritz Lang's Moonfleet (1955) all lost money  So did Lust for Life (1956), a biopic directed by Minnelli of Vincent van Gogh, although it was extremely well-received critically 

Television and theatre
Houseman moved into television producing, notably doing The Seven Lively Arts (1957) and episodes of Playhouse 90 
He also returned to theatre, producing revivals of Measure for Measure (1957) and The Duchess of Malfi (1957) 

Return to MGM
Houseman was enticed back to MGM as a producer, and given his own production company, John Houseman Productions  His films were All Fall Down (1962), Two Weeks in Another Town (1962) and In the Cool of the Day (1963) 

Return to television
Houseman returned to television where he made The Great Adventure and Journey to America (1964)  He returned to Hollywood briefly to produce This Property Is Condemned (1966), then returned to TV for Evening Primrose (1966) 
He returned to Broadway, directing Pantagleize (1967) 

Teaching
The Juilliard School and The Acting Company
Houseman became the founding director of the Drama Division at The Juilliard School, and held this position from 1968 until 1976  The first graduating class in 1972 included Kevin Kline and Patti LuPone; subsequent classes under Houseman's leadership included Christopher Reeve, Mandy Patinkin, and Robin Williams Unwilling to see that very first class disbanded upon graduation, Houseman and his Juilliard colleague Margot Harley formed them into an independent, touring repertory company they named the "Group 1 Acting Company " The organization was subsequently renamed The Acting Company, and has been active for more than 40 years  Houseman served as the producing artistic director through 1986, and Harley has been the company's producer since its founding   Writing in The New York Times in 1996, Mel Gussow called it "the major touring classical theater in the United States "

Theatre
Houseman continued to be involved in theatre, producing The School for Wives (1971), The Three Sisters (1973), The Beggar's Opera (1973), Scapin (1973), Next Time I'll Sing to You (1974), The Robber Bridegroom (1975), Edward II (1975), and The Time of Your Life (1975)
He directed The Country Girl (1972), Don Juan in Hell (1973), Measure for Measure  (1973), and Clarence Darrow (1974) (with Henry Fonda) 
In 1979, Houseman earned induction into the American Theater Hall of Fame

Acting
Houseman had acted occasionally during the early part of his career and he had a brief but important part in Seven Days in May (1964) 
Houseman first became widely known to the public for his Golden Globe and Academy Award-winning role as Professor Charles Kingsfield in the film The Paper Chase (1973)  The film was a success and launched Houseman into an unexpected late career as a character actor 
Houseman played Energy Corporation Executive Bartholomew in the film Rollerball (1975), and was in the thrillers Three Days of the Condor (1975) and St Ives (1976) 
Houseman appeared on TV in Fear on Trial (1975), The Adams Chronicles (1976), Truman at Potsdam (1976), Hazard's People (1976) and Six Characters in Search of an Author (1976)  Houseman was reunited with The Paper Chase co-star Lindsay Wagner in 1976's "Kill Oscar", a three-part joint episode of the popular science fiction series The Bionic Woman and The Six Million Dollar Man; he played the scientific genius Dr  Franklin 
He continued appearing on TV in Captains and the Kings (1976), The Displaced Person (1977), a version of Our Town (1977), Washington: Behind Closed Doors (1977), The Best of Families (1977), Aspen, The Last Convertible (1978), The French Atlantic Affair (1978) and The Associates (1980) 
In films he parodied Sydney Greenstreet in the Neil Simon film The Cheap Detective (1978) and was in Old Boyfriends (1980), John Carpenter's The Fog (1980), Wholly Moses! (1981) and My Bodyguard (1981) 
Houseman briefly returned to producing with the TV movie Gideon's Trumpet (1980), which he also appeared in and Choices of the Heart (1983)  He produced one more show on Broadway, The Curse of an Aching Heart (1982) 
He acted in The Babysitter (1980), A Christmas Without Snow (1980), Ghost Story (1981), Mork & Mindy, Murder by Phone (1982) (second billed), Marco Polo (1982), and American Playhouse (1982) 

Television star
Having played a Harvard Law School professor in the film The Paper Chase (1973), he reprised the role in a television series of the same name, which ran from 1978 to 1979 and 1983 to 1986  During that time, he received two Golden Globe nominations for "Best Actor in a TV Series—Drama" 
In the 1980s Houseman became more widely known for his role as grandfather Edward Stratton II in Silver Spoons, which starred Rick Schroder, and for his commercials for brokerage firm Smith Barney, which featured the catchphrase, "They make money the old fashioned way    they earn it " Another was Puritan brand cooking oil, with "less saturated fat than the leading oil", featuring the famous 'tomato test' 
He played Jewish author Aaron Jastrow (loosely based on the real life figure of Bernard Berenson) in the highly acclaimed 1983 miniseries The Winds of War (receiving a fourth Golden Globe nomination)  He declined to reprise the role in the sequel War and Remembrance miniseries (the role then went to Sir John Gielgud) 
However he was in the miniseries A D  (1984), Noble House (1986), and Lincoln (1986) 

Personal life
Houseman had an affair with actress Joan Fontaine after her marriage to actor Brian Aherne ended  "Ours was what was known in Hollywood as a 'romance,' -- which meant that we slept together three or four nights a week, got invited to parties together, went away together for weekends and sometimes talked about getting married without really meaning it," Houseman wrote in Front and Center, his second autobiography 

Final years and death
Later film appearances included Bright Lights, Big City (1988) and Another Woman (1988) 
In 1988, he appeared in his last two roles—cameos in the films The Naked Gun: From the Files of Police Squad! and Scrooged  He played a driving instructor (whose mannerisms parodied many of his prior roles) in the former, and himself in the latter  Both films were released after his death 
On October 31, 1988, Houseman died at age 86 of spinal cancer at his home in Malibu, California  He was cremated and his ashes were scattered at sea 

In popular culture
Houseman was portrayed by Cary Elwes in the Tim Robbins–directed film Cradle Will Rock (1999)  Actor Eddie Marsan plays the role of Houseman in Richard Linklater's film Me & Orson Welles (2009)  Houseman was played by actor Jonathan Rigby in the Doctor Who audio drama Invaders from Mars set around the War of the Worlds broadcast  Actor Sam Troughton portrayed Houseman in the 2020 film Mank 
In the Seinfeld episode "The Face Painter", Jerry tells Elaine that Alec Berg has "a good John Houseman name"  Jerry then imitates Houseman, speaking Alec Berg's name in a non-rhotic, gravelly rasp 
In the SCTV episode "Jane Eyrehead", guest star Robin Williams portrayed Houseman in the sketch commercial "An Evening with John Houseman", in which he reads the Mellonville phonebook to a cheering theater audience 

Filmography
Film
As actor (film)
As producer (film)
Television
As actor (television)
As producer (television)
Passage 2:
Indutiomarus
Indutiomarus (died 53 BC) was a leading aristocrat of the Treveri (the people of the area around present-day Trier) at the time of Julius Caesar's conquest of Gaul  He was the head of the anti-Roman party and the political rival of his pro-Roman son-in-law Cingetorix for "supreme power" in the state 

Biography
In 54 BC, Indutiomarus made preparations for war against the Romans and evacuated non-combatants to the Ardennes  However, when Caesar arrived in the territory of the Treveri en route to Britain, Indutiomarus was deserted by many of his leading supporters and submitted to Caesar in the hopes of preserving his position  Caesar accepted his submission, taking 200 hostages including several of Indutiomarus' close family members, but he also took the opportunity to promote Cingetorix to power among the Treveri at Indutiomarus' expense Deprived of much of his power, Indutiomarus became all the more bitter an enemy of the Romans, and waited for a favourable opportunity to take his revenge  Such an opportunity arrived soon  To ensure adequate food supplies, Caesar had separated his troops into winter quarters dispersed in different parts of Gaul  Indutiomarus encouraged Ambiorix and Cativolcus, chiefs of the Eburones, to attack the Roman legion stationed in their country; he himself soon afterwards marched against Titus Labienus, who was encamped among the Remi, immediately west of the Treveri  Forewarned of Caesar's victory over the Nervii, Indutiomarus withdrew his forces into Treveran country and raised fresh troops  He also spent the winter sending ambassadors to the Germans in search of allies  Other peoples began sending ambassadors to Indutiomarus of their own accord as well – these included the Senones, the Carnutes, the Nervii and the Aduatuci Now emboldened, Indutiomarus declared Cingetorix an enemy of the state and confiscated his property 
He marched against Labienus again and surrounded the Roman camp  Indutiomarus took to riding around the camp with his cavalry force almost daily, both to reconnoitre and to intimidate the Romans within  Labienus one day sneaked a large contingent of auxiliary cavalry into the Roman camp, and during one of these exercises the auxiliaries surprised the Treveran force with a sudden sally  Indutiomarus himself was killed in the rout while crossing a river  His death was still a source of anger and rebellion as of 51 BC, when the Treveri remained in the field on the side of Ambiorix 
Passage 3:
Et tu, Brute?
Et tu, Brute? (pronounced [ɛt ˈtuː ˈbruːtɛ]) is a Latin phrase literally meaning "and you, Brutus?" or "also you, Brutus?", often translated as "You as well, Brutus?", "You too, Brutus?", or "Even you, Brutus?"  The quote appears in Act 3 Scene 1 of William Shakespeare's play Julius Caesar, where it is spoken by the Roman dictator Julius Caesar, at the moment of his assassination, to his friend Marcus Junius Brutus, upon recognizing him as one of the assassins  The first known occurrences of the phrase are said to be in two earlier Elizabethan plays; Henry VI, Part 3 by Shakespeare, and an even earlier play, Caesar Interfectus, by Richard Edes  The phrase is often used apart from the plays to signify an unexpected betrayal by a friend  
There is no evidence that the historical Caesar spoke these words  Though the historical Caesar's last words are not known with certainty, the Roman historian Suetonius, a century and a half after the incident, claims Caesar said nothing as he died, but that others reported that Caesar's last words were the Greek phrase Kai su, teknon (Και συ τέκνον), which means "You too, child" or "You too, young man" to Brutus  Contrary to popular belief, the words are not Caesar's last in the play, as he says "Then fall Caesar!" right after 

Etymology
The name Brutus, a second declension masculine noun, appears in the phrase in the vocative case, and so the -us ending of the nominative case is replaced by -e 

Context
On March 15 (the Ides of March), 44 BC, the historic Caesar was attacked by a group of senators, including Brutus, who was Caesar's friend and protégé  Caesar initially resisted his attackers, but when he saw Brutus, he reportedly responded as he died  Suetonius mentions the quote merely as a rumor, as does Plutarch who also reports that Caesar said nothing, but merely pulled his toga over his head when he saw Brutus among the conspirators Caesar saying Et tu, Brute? in Shakespeare's play Julius Caesar (1599) was not the first time the phrase was used in a dramatic play  Edmond Malone claimed that it appeared in a work that has since been lost—Richard Edes's Latin play Caesar Interfectus of 1582  The phrase had also occurred in another play by Shakespeare, The True Tragedie of Richard Duke of Yorke, and the death of good King Henrie the Sixth, with the Whole Contention betweene the two Houses Lancaster and Yorke of 1595, which is the earliest printed version of Henry VI, Part 3 

Interpretation
It has been argued that the phrase can be interpreted as a curse or warning  One theory states that the historic Caesar adapted the words of a Greek sentence which to the Romans had long since become proverbial: The complete phrase is said to have been "You too, my son, will have a taste of power", of which Caesar only needed to invoke the opening words to foreshadow Brutus' own violent death, in response to his assassination  The poem Satires; Book I, Satire 7 by Horace, written approximately 30 BC, mentions Brutus and his tyrannicide; in discussing that poem, author John Henderson considers that the expression E-t t-u Br-u-t-e, (as he hyphenates it), can be interpreted as a complaint containing a "suggestion of mimetic compulsion" 

See also
List of Latin phrases (E)
Passage 4:
Assassination of Julius Caesar
Julius Caesar was  assassinated by a group of senators on the Ides of March (15 March) of 44 BC during a meeting of the Senate at the Curia of Pompey of the Theatre of Pompey in Rome where the senators stabbed Caesar 23 times  They claimed to be acting over fears that Caesar's unprecedented concentration of power during his dictatorship was undermining the Roman Republic  At least 60 to 70 senators were party to the conspiracy, led by Marcus Junius Brutus, Gaius Cassius Longinus, and Decimus Junius Brutus Albinus  Despite the death of Caesar, the conspirators were unable to restore the institutions of the Republic  The ramifications of the assassination led to his Martyrdom, the Liberators' civil war and ultimately to the Principate period of the Roman Empire 

Causes
Caesar had served the Republic for eight years in the Gallic Wars, fully conquering the region of Gaul (roughly equivalent to modern-day France)  After the Roman Senate demanded that Caesar disband his army and return home as a civilian, he refused, crossing the Rubicon with his army and plunging Rome into Caesar's Civil War in 49 BC  After defeating the last of the opposition, Caesar was appointed dictator perpetuo ("dictator in perpetuity") in early 44 BC  Roman historian Titus Livius describes three incidents that occurred from 45 to 44 BC as the final causes of Caesar's assassination – the "three last straws" as far as some Romans were concerned The first incident took place in December 45 BC or possibly early 44 BC  According to Roman historian Cassius Dio, after the Senate had voted to bestow a large group of honours upon Caesar, they decided to present them to him formally, and marched as a senatorial delegation to the Temple of Venus Genetrix  When they arrived, etiquette called for Caesar to stand up to greet the senators, but he did not rise  He also joked about their news, saying that his honours needed to be cut back instead of increased  Roman historian Suetonius wrote (almost 150 years later) that Caesar failed to rise in the temple, either because he was restrained by the consul Lucius Cornelius Balbus or that he balked at the suggestion he should rise  Regardless of the reasoning, by practically rejecting a senatorial gift and not acknowledging the delegation's presence with proper etiquette, Caesar gave the strong impression that he no longer cared about the Senate The second incident occurred in 44 BC  One day in January, the tribunes Gaius Epidius Marullus and Lucius Caesetius Flavus discovered a diadem on the head of the statue of Caesar on the Rostra in the Roman Forum  According to Suetonius, the tribunes ordered the wreath be removed as it was a symbol of Jupiter and royalty  Nobody knew who had placed the diadem, but Caesar suspected that the tribunes had arranged for it to appear so that they could have the honour of removing it  Matters escalated shortly after on the 26th, when Caesar was riding on horseback to Rome on the Appian Way  A few members of the crowd greeted him as rex ("king"), to which Caesar replied, "I am not Rex, but Caesar" ("Non sum Rex, sed Caesar")  This was wordplay; "Rex" was a family name as well as a Latin title  Marullus and Flavus, the aforementioned tribunes, were not amused, and ordered the man who first cried "rex" arrested  In a later senate meeting, Caesar accused the tribunes of attempting to create opposition to him, and had them removed from office and membership in the Senate  The Roman plebs took their tribunes seriously as the representatives of the common people; Caesar's actions against the tribunes put him on the wrong side of public opinion The third incident took place at the festival of the Lupercalia, on 15 February 44 BC  Mark Antony, who had been elected co-consul with Caesar, climbed onto the Rostra and placed a diadem on Caesar's head, saying "The People give this to you through me " While a few members of the crowd applauded, most responded with silence  Caesar removed the diadem from his head; Antony again placed it on him, only to get the same response from the crowd  Finally, Caesar put it aside to use as a sacrifice to Jupiter Optimus Maximus  "Jupiter alone of the Romans is king", Caesar said, which received an enthusiastic response from the crowd  At the time, many believed that Caesar's rejection of the diadem was a way for him to see if there was enough support for him to become king, and despised him for it According to Suetonius, Caesar's assassination ultimately occurred primarily due to concerns that he wished to crown himself the king of Rome  These concerns were exacerbated by the "three last straws" of 45 and 44 BC  In just a few months, Caesar had disrespected the Senate, removed People's Tribunes, and toyed with monarchy  By February, the conspiracy that caused his assassination was being born 

Conspiracy
The conspiracy to assassinate Julius Caesar began with a meeting between Cassius Longinus and his brother-in-law Marcus Brutus in the evening of 22 February 44 BC, when after some discussion the two agreed that something had to be done to prevent Caesar from becoming king of the Romans The two men then began to recruit others  While it took only one man to murder another, Brutus believed that for the assassination of Caesar to be considered a legitimate removal of a tyrant, done for the sake of their country, it must include a large number of Rome's leading men  They attempted to strike a balance: they aimed to recruit enough men to surround Caesar and fight his supporters, but not so many that they would risk being discovered  They preferred friends to acquaintances and recruited neither reckless youths nor feeble elders  In the end, the conspirators recruited senators near the age of forty, as were they  The men assessed each potential recruit with innocent-sounding questions  The ancient sources report that in the end, around sixty to eighty conspirators joined the plot, although the latter number may be a scribal error Notable conspirators included Pacuvius Labeo, who answered affirmatively on 2 March when Brutus asked him whether it was wise for a man to put himself into danger if it meant overcoming evil or foolish men; Decimus Brutus, who joined on 7 March after being approached by Labeo and Cassius; Gaius Trebonius, Tillius Cimber, Minucius Basilus, and the brothers Casca (Publius and another whose name is unknown), all men from Caesar's own ranks; and Pontius Aquila, who had been personally humiliated by Caesar  According to Nicolaus of Damascus, the conspirators included Caesar's soldiers, officers, and civilian associates, and while some joined the conspiracy due to concerns over Caesar's authoritarianism, many had self-interested motives such as jealousy: feeling that Caesar had not rewarded them enough or that he had given too much money towards Pompey's former supporters  The conspirators did not meet openly but instead secretly assembled at each other's homes and in small groups in order to work out a plan First, the conspirators discussed the addition of two other men to the conspiracy  Cicero, the famous orator, was trusted by both Cassius and Brutus, and had made it no secret that he considered Caesar's rule oppressive  He also had great popularity among the common people and a large network of friends, which would help attract others to join their cause  However, the conspirators considered Cicero too cautious; at that time, Cicero was over sixty, and the conspirators thought he would be too likely to put safety over speed when planning the assassination  Next, the conspirators considered Mark Antony, aged thirty-nine and one of Caesar's best generals  The conspirators were agreeing to attempt to recruit him until Gaius Trebonius spoke  He revealed that he had personally approached Antony the summer before and asked him to join a different conspiracy to end Caesar's life, and Antony had turned him down  This rejection to the old conspiracy caused the conspirators to decide against recruiting Antony Now, however, a new idea took place  Antony was strong because of his familiarity with the soldiers, and powerful due to his consulship  If Antony was not to join them, then they must assassinate Antony as well, lest he interfere with the conspiracy  Eventually, this idea was expanded upon and split the conspirators into two factions  The optimates, the "Best Men" of Rome, among the conspirators wanted to go back to the way things were before Caesar  This would entail killing both Caesar and all the men around him, including Antony, and reverting Caesar's reforms  The former supporters of Caesar among the conspirators did not agree to this  They liked Caesar's reforms, and did not want a purge of Caesar's supporters  However, even they agreed to kill Antony Brutus disagreed with both  He argued that killing Caesar, and doing nothing else, was the option they should choose  The conspirators claimed to be acting based on the principles of law and justice, he told them, and it would be unjust to kill Antony  While the assassination of Caesar would be viewed as the killing of a tyrant, killing his supporters would be seen only as a politicized purge and the work of Pompey's former supporters  By keeping Caesar's reforms intact, they would both keep the support of the Roman people, who Brutus believed opposed Caesar the king, not Caesar the reformer, and the support of Caesar's soldiers and other supporters  His argument convinced the other conspirators  They began making plans for Caesar's assassination The conspirators believed that how and where they assassinated Caesar would make a difference  An ambush in a secluded area would have a different impact on public opinion than an assassination in the heart of Rome  The conspirators came up with multiple ideas for the assassination  They considered an attack on Caesar while he was walking on the Via Sacra, the "Sacred Street"  Another idea was to wait to attack him during the elections for new consuls  The conspirators would wait for Caesar to begin crossing the bridge that all voters crossed as part of the election procedures, and then topple him over the rail and into the water  There would be conspirators waiting in the water for Caesar, with daggers drawn  Another plan was to attack at a gladiatorial game, which had the benefit that nobody would be suspicious of armed men Finally, somebody brought up the idea to assassinate Caesar at one of the senate meetings  All other plans had one detriment: while Caesar had no official bodyguards, he asked his friends to protect him in public  Most of these friends were imposing and dangerous-looking and the conspirators were afraid that they would interfere with the assassination  Here, this would not be an issue, since only senators were allowed in the Senate House  Some also said that the murder of a tyrant in full view of the Senate would not be seen as a political plot, but as a noble act, done on behalf of their country  The conspirators ultimately settled on this as the chosen plan  Caesar would be leaving the city on 18 March to embark on a military campaign against the Getae and the Parthians  The last senate meeting before that date was on the 15th, the Ides of March, and so the conspirators chose this as the day of the assassination In the days leading up to the Ides, Caesar was not completely oblivious to what was being planned  According to the ancient historian Plutarch, a seer had warned Caesar that his life would be in danger no later than the Ides of March  The Roman biographer Suetonius identifies this seer as a haruspex named Spurinna  In addition, on 1 March, Caesar watched Cassius speaking with Brutus at the senate house and said to an aide, "What do you think Cassius is up to? I don't like him, he looks pale "Two days before the assassination, Cassius met with the conspirators and told them that, should anyone discover the plan, they were to turn their knives on themselves 

Ides of March
On the Ides of March of 44 BC, conspirators and non-conspirators met at the Senate House of Pompey, located in the Theatre of Pompey, for the senate meeting  Usually, the senators would be meeting at the Roman Forum, but Caesar was financing a reconstruction of the forum and so the senators met in other venues throughout Rome, this being one of them  There were gladiatorial games underway at the Theatre, and Decimus Brutus, who owned a company of gladiators, stationed them in the Portico of Pompey, also located in the Theatre of Pompey  The gladiators could be useful to the conspirators: if a fight broke out to protect Caesar, the gladiators could intervene; if Caesar was killed but the conspirators came under attack, the gladiators could protect them; and since it was impossible to enter the Senate House without going through the Portico, the gladiators could block entrance to both if necessary The senators waited for Caesar's arrival, but he did not come  The reason for this is that early that morning, Calpurnia, Caesar's wife, was awoken from a nightmare  She had dreamt that she was holding a murdered Caesar in her arms and mourning him  Other versions have Calpurnia dream that the front pediment of their house had collapsed and that Caesar had died; yet another shows Caesar's body streaming with blood  Calpurnia had no doubt heard Spurinna's warnings of great peril to Caesar's life, which helps explain her visions  Around 5 a m , Calpurnia begged Caesar not to go to the senate meeting that day  After some hesitation, Caesar acquiesced  Although not superstitious, he knew that Spurinna and Calpurnia were involved in Roman politics, and decided to be cautious  Caesar sent Mark Antony to dismiss the Senate  When the conspirators heard of this dismissal, Decimus went to Caesar's home to try to talk him into coming to the Senate meeting  "What do you say, Caesar?" Decimus said  "Will someone of your stature pay attention to a woman's dreams and the omens of foolish men?" Caesar eventually decided to go Caesar was walking to the senate house when he caught sight of Spurinna  "Well, the Ides of March have come!" Caesar called out playfully  "Aye, the Ides have come," said Spurinna, "but they are not yet gone " Mark Antony started to enter with Caesar, but was intercepted by one of the plotters (either Trebonius or Decimus Brutus) and detained outside  He remained there until after the assassination, at which point he fled 
According to Plutarch, as Caesar took his seat, Lucius Tillius Cimber presented him with a petition to recall his exiled brother  The other conspirators crowded round to offer their support  Both Plutarch and Suetonius say that Caesar waved him away, but Cimber grabbed Caesar's shoulders and pulled down Caesar's toga  Caesar then cried to Cimber, "Why, this is violence!" ("Ista quidem vis est!")  At the same time, Casca produced his dagger and made a glancing thrust at the dictator's neck  Caesar turned around quickly and caught Casca by the arm  According to Plutarch, he said in Latin, "Casca, you villain, what are you doing?" Casca, frightened, shouted simultaneously "Brother! Help me!" (Ancient Greek: ἀδελφέ, βοήθει, romanized: adelphe, boethei)  Though Caesar was able to violently throw Casca away, Gaius Servilius Casca stabbed him in the side  Within moments, Caesar was attacked from all directions, with Cassius, slashing Caesar's face, Bucilianus stabbing at the back and Decimus slicing his thigh  Caesar attempted to fight back, but tripped and fell; the men continued stabbing him as he lay defenseless on the lower steps of the portico  Caesar was stabbed 23 times  Suetonius relates that a physician who performed an autopsy on Caesar established that only one wound (the second one to his ribs) had been fatal  This autopsy report (the earliest known post-mortem report in history) describes that Caesar's death was mostly attributable to blood loss from his stab wounds Caesar was killed at the base of the Curia of Pompey in the Theatre of Pompey The dictator's last words are a contested subject among scholars and historians  Suetonius himself says he said nothing, nevertheless, he mentions that others have written that Caesar's last words were the Greek phrase "καὶ σύ, τέκνον;" (transliterated as "Kai su, teknon?": "You too, child?" in English)  Plutarch also reports that Caesar said nothing, pulling his toga over his head when he saw Brutus among the conspirators  According to Plutarch, after the assassination, Brutus stepped forward as if to say something to his fellow senators not involved in the plot; they, however, fled the building  Brutus and his companions then marched through the city, announcing: "People of Rome, we are once again free!" They were met with silence, as the citizens of Rome had locked themselves inside their houses as soon as the rumours of what had taken place began to spread  According to Suetonius, after the murder all the conspirators fled; Caesar's body lay untouched for some time afterwards, until finally three slaves put him on a litter and carried him home, with one arm hanging down 

Preceding events
Virgil wrote in the Georgics that several unusual events took place preceding Caesar's assassination  This should be read in the context of the ancient Romans' belief in omens 

Who dare say the Sun is false? He and no other warns us when dark uprising threaten, when treachery and hidden wars are gathering strength  He and no other was moved to pity Rome on the day that Caesar died, when he veiled his radiance in gloom and darkness, and a godless age feared everlasting night  Yet in this hour Earth also and the plains of Ocean, ill-boding dogs and birds that spell mischief, sent signs which heralded disaster  How oft before our eyes did Etna deluge the fields of the Cyclopes with a torrent from her burst furnaces, hurling thereon balls of fire and molten rocks  Germany heard the noise of battle sweep across the sky and, even without precedent, the Alps rocked with earthquakes  A voice boomed through the silent groves for all to hear, a deafening voice, and phantoms of unearthly pallor were seen in the falling darkness  Horror beyond words, beasts uttered human speech; rivers stood still, the earth gaped upon; in the temples ivory images wept for grief, and beads of sweat covered bronze statues  King of waterways, the Po swept forests along in the swirl of his frenzied current, carrying with him over the plain cattle and stalls alike  Nor in that same hour did sinister filaments cease to appear in ominous entrails or blood to flow from wells or our hillside towns to echo all night with the howl of wolves  Never fell more lightning from a cloudless sky; never was comet's alarming glare so often seen 

Aftermath
A wax statue of Caesar was erected at the Forum displaying the 23 stab wounds  A crowd who had amassed there expressed their anger at the assassins by burning the Senate House  Two days after the assassination, Mark Antony summoned the senate and managed to work out a compromise in which the assassins would not be punished for their acts, but all of Caesar's appointments would remain valid  By doing this, Antony most likely hoped to avoid large cracks in government forming as a result of Caesar's death  Simultaneously, Antony diminished the goals of the conspirators  The result unforeseen by the assassins was that Caesar's death precipitated the end of the Roman Republic  The Roman lower classes, with whom Caesar was popular, became enraged that a small group of aristocrats had sacrificed Caesar  Antony capitalized on the grief of the Roman mob and threatened to unleash them on the Optimates, perhaps with the intent of taking control of Rome himself  But, to his surprise and chagrin, Caesar had named his grandnephew Gaius Octavius his sole heir, bequeathing him the immensely potent Caesar name as well as making him one of the wealthiest citizens in the Republic  Upon hearing of his adoptive father's death, Octavius abandoned his studies in Apollonia and sailed across the Adriatic Sea to Brundisium  Octavius became Gaius Julius Caesar Octavianus or Octavian, the son of the great Caesar, and consequently also inherited the loyalty of much of the Roman populace  Octavian, aged only 18 at the time of Caesar's death, proved to have considerable political skills, and while Antony dealt with Decimus Brutus in the first round of the new civil wars, Octavian consolidated his tenuous position  Antony did not initially consider Octavius a true political threat due to his young age and inexperience, but Octavius quickly gained the support and admiration of Caesar's friends and supporters To combat Brutus and Cassius, who were massing an enormous army in Greece, Antony needed soldiers, the money from Caesar's war chests, and the legitimacy that Caesar's name would provide for any action he took against them  With passage of the Lex Titia on 27 November 43 BC, the Second Triumvirate was officially formed, composed of Antony, Octavian, and Caesar's Master of the Horse Lepidus  It formally deified Caesar as Divus Iulius in 42 BC, and Caesar Octavian henceforth became Divi filius ("Son of the Divine")  Seeing that Caesar's clemency had resulted in his murder, the Second Triumvirate brought back proscription, abandoned since Sulla  It engaged in the legally sanctioned murder of a large number of its opponents in order to fund its forty-five legions in the second civil war against Brutus and Cassius  Antony and Octavian defeated them at Philippi The Second Triumvirate was ultimately unstable and could not withstand internal jealousies and ambitions  Antony detested Octavian and spent most of his time in the East, while Lepidus favoured Antony but felt himself obscured by both his colleagues  Following the Sicilian revolt, led by Sextus Pompey, a dispute between Lepidus and Octavian regarding the allocation of lands broke out  Octavian accused Lepidus of usurping power in Sicily and of attempted rebellion and, in 36 BC, Lepidus was forced into exile in Circeii and stripped of all his offices except that of Pontifex Maximus  His former provinces were awarded to Octavian  Antony, meanwhile, married Caesar's lover, Cleopatra, intending to use the fabulously wealthy Egypt as a base to dominate Rome  A third civil war subsequently broke out between Octavian on one hand and Antony and Cleopatra on the other  This final civil war culminated in the latter's defeat at Actium in 31 BC; Octavian's forces would then chase Antony and Cleopatra to Alexandria, where they would both commit suicide in 30 BC  With the complete defeat of Antony and the marginalisation of Lepidus, Octavian, having been restyled "Augustus", a name that raised him to the status of a deity, in 27 BC, remained as the sole master of the Roman world and proceeded to establish the Principate as the first Roman "Emperor" 

List of conspirators
Most of the conspirators' names are lost to history and only about twenty are known  Nothing is known about some of those whose names have survived  The known members are:

Marcus Tullius Cicero was not a member of the conspiracy and was surprised by it  He later wrote to the conspirator Trebonius that he wished he had been "invited to that superb banquet" and believed that the conspirators should also have killed Mark Antony 

Gallery
See also
List of assassinated and executed heads of state and government
Acta Caesaris
Death of Alexander the Great
Death of Cleopatra
Julius Caesar, a play by William Shakespeare
The Ides of March, a novel by Thornton Wilder
The Throne of Caesar, a novel by Steven Saylor
Amanita caesarea

Notes
Passage 5:
Julius Caesar (1953 film)
Julius Caesar (billed on-screen as William Shakespeare's Julius Caesar) is a 1953 American film adaptation of the Shakespearean play, directed by Joseph L  Mankiewicz and produced by John Houseman for Metro-Goldwyn-Mayer  It stars Marlon Brando as Mark Antony, James Mason as Brutus, John Gielgud as Cassius, Louis Calhern as Caesar, Edmond O'Brien as Casca,  Greer Garson as Calpurnia, and Deborah Kerr as Portia 
The film opened to positive reviews, and was nominated in five categories at the 26th Academy Awards (including Best Picture and Best Actor for Brando), winning Best Art Direction - Black-and-White  Brando and Gielgud both won BAFTA Awards, Brando for Best Foreign Actor and Gielgud for Best British Actor 

Plot
"Upon Caesar's return to Rome, after defeating Pompey in the civil war, his countrymen chose him a fourth time consul and then dictator for life      thus he became odious to moderate men through the extravagance of the titles and powers that were heaped upon him "Plutarch's LivesThe film is a largely-faithful adaptation of Shakespeare's play, with no significant cuts or alterations to the original text  The only notable exception is the Messenger's text recounting the Battle of Philippi, which is substituted with a visual depiction of the battle 

Cast
Cast as listed in end credits
Production
Producer John Houseman says the film was made because Laurence Olivier's 1944 production of Henry V had been a success  MGM's head of production Dore Schary offered the project to Houseman, who said he wanted Joseph L  Mankiewicz to direct because he thought he and William Wyler were "probably the two best dialogue directors in the business" and that Mankiewicz was "younger and more flexible "Houseman did not want to use an all-British cast  "I'd done a lot of Shakespeare in America," he said  "If it was going to be cast all-English, it should be an English picture, made in England and we might as well forget about it "Houseman says MGM wanted to make the film in color but he and Mankiewicz refused, "partly because we wanted people to relate to the newsreels, to the Fascist movements in Europe, which were still relevant" and also because they would be "using a lot of the Quo Vadis sets, and it seemed idiotic to invite comparison with Quo Vadis "Though Houseman originally intended to shoot the film in Italy, production ultimately took place in Los Angeles instead  Many of the sets and costumes were repurposed from Quo Vadis (1951), with several setpieces deconstructed, flown from Rome to California, and rebuilt on MGM's Culver City studio backlot 
Houseman says they "decided to do it as a small production, not a spectacle; to do it for what it really is—the drama of a political power play "

Casting
Many actors in this film had experience in the play  John Gielgud had played Mark Antony at the Old Vic Theatre in 1930 and Cassius at the Shakespeare Memorial Theatre in Stratford-upon-Avon in 1950, James Mason had played Brutus at the Abbey Theatre in Dublin in the 1940s, and John Hoyt, who plays Decius Brutus, also played him in the Mercury Theatre's 1937 stage version  Gielgud later played the title role in the 1970 film with Charlton Heston, Jason Robards and Richard Johnson (as Cassius) and in a stage production directed by John Schlesinger at the Royal National Theatre  John Houseman, who had produced the famous 1937 Broadway version of the play starring Orson Welles and the Mercury Theatre, also produced the MGM film  By this time, however, Welles and Houseman had had a falling out, and Welles had nothing to do with the 1953 film  P  M  Pasinetti, Italian-American writer, scholar, and teacher at UCLA served as a technical advisor 

Brando's casting was met with some skepticism when it was announced, as he had acquired the nickname of "The Mumbler" following his performance in A Streetcar Named Desire (1951)   Director Joseph L  Mankiewicz even considered Paul Scofield for the role of Mark Antony if Brando's screen test was unsuccessful   Brando asked John Gielgud for advice in declaiming Shakespeare, and adopted all of Gielgud's recommendations  Brando's performance turned out so well that the New York Times' Bosley Crowther stated in his review of the film: “Happily, Mr  Brando's diction, which has been guttural and slurred in previous films, is clear and precise in this instance  In him a major talent has emerged ”  Brando was so dedicated in his performance during shooting that Gielgud offered to direct him in a stage production of Hamlet, a proposition that Brando seriously considered but ultimately turned down   During filming, James Mason became concerned that Brando was stealing the audience's sympathy away from him and his character, Brutus, so Mason appealed to Mankiewicz, with whom he had bonded earlier while making the film 5 Fingers, requesting that the director stop Brando from dominating the film and "put the focus back where it belongs  Namely on me!"  The subsequent shift in directorial attention didn't escape Brando, who threatened to walk off the film if Mankiewicz "threw one more scene to Mason", alleging a ménage à trois  among Mankiewicz, Mason and his wife Pamela Mason   Despite the feuding, production continued with only minimal disruption, thanks to what Gielgud called, "Mankiewicz's consummate tact that kept us together as a working unit "O  Z  Whitehead is listed on the Internet Movie Database as having played Cinna the Poet in the film and not receiving screen credit, but his one scene was deleted before release, and it is not included in any DVD or video releases of the film  (However, Cinna the Conspirator does appear — he is played by actor William Cottrell )

Release
The film premiered at the Booth Theatre in New York City on June 3, 1953 

Reception
Critical response
The film received highly favorable reviews  Bosley Crowther of The New York Times called it "a stirring and memorable film," while Variety wrote: "A triumphant achievement in film-making, it will be rated one of the great pictures of Hollywood " Harrison's Reports raved, "Excellent! Sumptuously produced, expertly directed and brilliantly acted, 'Julius Caesar' is an artistic triumph that ranks with the best of the Shakespearean plays that have been put on film " John McCarten of The New Yorker called the film "a very chilly exercise" and opined that Brando "plainly shows he needs a bit of speech training before he can graduate into an acting league where the spoken word is a trifle more significant than the flexed biceps and the fixed eye," but praised Mason and Gielgud as "a pleasure to watch and listen to " The Monthly Film Bulletin called it "an excellent film, excellent cinema, excellent entertainment, and pretty respectable art "In the second volume of his book The Story of Cinema, author David Shipman pointed to Gielgud "negotiating the verse as in no other Shakespeare film to date except Olivier's"  On Rotten Tomatoes the film has an approval rating of 95% based on reviews from 22 critics The film is recognized by American Film Institute in these lists:

2008: AFI's 10 Top 10:
Nominated Epic Film

Box office
According to MGM records, the film earned $2,021,000 in the U S  and Canada and $1,899,000 in other markets, resulting in a profit of $116,000 In 1976, Houseman said "It's still shown a lot—in theaters and schools and on TV  I suspect it finally made more money than any other picture I made "

Awards and nominations
The film won the Academy Award for Best Art Direction (Cedric Gibbons, Edward Carfagno, Edwin B  Willis, Hugh Hunt), and was nominated for Best Actor in a Leading Role (Marlon Brando), Best Cinematography, Black-and-White, Best Music, Scoring of a Dramatic or Comedy Picture and Best Picture  Brando's nomination was his third consecutive for Best Actor, following 1951's A Streetcar Named Desire and 1952's Viva Zapata!  He would win the following year for On the Waterfront 
Julius Caesar won BAFTA awards for Best British Actor (John Gielgud) and Best Foreign Actor (Marlon Brando), and was also nominated for Best Film  It was Brando's second of three consecutive BAFTA Best Actor awards, for Viva Zapata! (1952), Julius Caesar (1953),  and On the Waterfront (1954) 
The National Board of Review awarded Julius Caesar Best Film and Best Actor (James Mason), and it also won the Golden Leopard at the Locarno International Film Festival 

Soundtrack
Intrada Records released an album featuring a 1995 re-recording of Miklós Rózsa’s film score  The re-recording was performed by the Sinfonia of London and conducted by Bruce Broughton 

See also
List of historical drama films
List of films set in ancient Rome
Julius Caesar (1950 film)
Julius Caesar (1970 film)
Passage 6:
Caesar Must Die
Caesar Must Die (Italian: Cesare deve morire) is a 2012 Italian drama film directed by Paolo and Vittorio Taviani  The film competed at the 62nd Berlin International Film Festival where it won the Golden Bear  The film is set in Rebibbia Prison (suburb of Rome), and follows convicts in their rehearsals ahead of a prison performance of Julius Caesar 

Cast
Salvatore Striano as Bruto (Brutus)
Cosimo Rega as Cassio (Cassius)
Giovanni Arcuri as Cesare (Caesar)
Antonio Frasca as Marcantonio (Mark Antony)
Juan Dario Bonetti as Decio (Decius Brutus)
Vincenzo Gallo as Lucio (Lucius)
Rosario Majorana as Metello (Metellus Cimber)
Francesco De Masi as Trebonio (Trebonius)
Gennaro Solito as Cinna (Cinna)
Vittorio Parrella as Casca (Casca)
Pasquale Crapetti as Legionär
Francesco Carusone as Wahrsager (Soothsayer)
Fabio Rizzuto as Stratone (Strato)
Maurilio Giaffreda as Ottavio (Octavius)
Fabio Cavalli as Theatre director

Accolades
Caesar Must Die won the Golden Bear at the 62nd Berlin International Film Festival in February 2012 where British director Mike Leigh led the judging panel  The Hollywood Reporter described the outcome as "a major upset"  Der Spiegel said it was a "very conservative selection"  Der Tagesspiegel criticised the outcome, saying that the "jury shunned almost all the contemporary films that were admired or hotly debated at an otherwise pretty remarkable festival"  The film was also selected as the Italian entry for the Best Foreign Language Oscar at the 85th Academy Awards, but it did not make the final shortlist Critics praised the use of actual prisoners in the film, saying it brought a higher intensity to the piece  Filmed largely in black-and-white, it has been described as a "deeply humanist film" that "blends gentle humour with an emotional punch"  Paolo Taviani said that he hoped moviegoers would "say to themselves or even those around them    that even a prisoner with a dreadful sentence, even a life sentence, is and remains a human being"  Vittorio Taviani read out the names of the cast At Metacritic, the film was given a rating of 76/100 based on 12 critics, which evaluates as generally favorable reviews

See also
List of black-and-white films produced since 1970
List of submissions to the 85th Academy Awards for Best Foreign Language Film
List of Italian submissions for the Academy Award for Best Foreign Language Film
Passage 7:
Ides of March
The Ides of March (; Latin: Idus Martiae, Late Latin: Idus Martii) is the 74th day in the Roman calendar, corresponding to 15 March  It was marked by several religious observances and was a deadline for settling debts in Rome  In 44 BC, it became notorious as the date of the assassination of Julius Caesar, which made the Ides of March a turning point in Roman history 

Ides
The Romans did not number each day of a month from the first to the last day  Instead, they counted back from three fixed points of the month: the Nones (the 5th or 7th, 8 days before the Ides), the Ides (the 13th for most months, but the 15th in March, May, July, and October), and the Kalends (1st of the following month)  Originally the Ides were supposed to be determined by the full moon, reflecting the lunar origin of the Roman calendar  In the earliest calendar, the Ides of March would have been the first full moon of the new year 

Religious observances
The Ides of each month were sacred to Jupiter, the Romans' supreme deity  The Flamen Dialis, Jupiter's high priest, led the "Ides sheep" (ovis Idulis) in procession along the Via Sacra to the arx, where it was sacrificed In addition to the monthly sacrifice, the Ides of March was also the occasion of the Feast of Anna Perenna, a goddess of the year (Latin annus) whose festival originally concluded the ceremonies of the new year  The day was enthusiastically celebrated among the common people with picnics, drinking, and revelry  One source from late antiquity also places the Mamuralia on the Ides of March  This observance, which has aspects of scapegoat or ancient Greek pharmakos ritual, involved beating an old man dressed in animal skins and perhaps driving him from the city  The ritual may have been a new year festival representing the expulsion of the old year In the later Imperial period, the Ides began a "holy week" of festivals celebrating Cybele and Attis, being the day Canna intrat ("The Reed enters"), when Attis was born and found among the reeds of a Phrygian river  He was discovered by shepherds or the goddess Cybele, who was also known as the Magna Mater ("Great Mother") (narratives differ)  A week later, on 22 March, the solemn commemoration of Arbor intrat ("The Tree enters") commemorated the death of Attis under a pine tree  A college of priests, the dendrophoroi ("tree bearers") annually cut down a tree, hung from it an image of Attis, and carried it to the temple of the Magna Mater with lamentations  The day was formalized as part of the official Roman calendar under Claudius (d  54 AD)  A three-day period of mourning followed, culminating with celebrating the rebirth of Attis on 25 March, the date of the vernal equinox on the Julian calendar 

Assassination of Caesar
In modern times, the Ides of March is best known as the date on which Julius Caesar was assassinated in 44 BC  Caesar was stabbed to death at a meeting of the Senate  As many as 60 conspirators, led by Brutus and Cassius, were involved  According to Plutarch, a seer had warned that harm would come to Caesar on the Ides of March  On his way to the Theatre of Pompey, where he would be assassinated, Caesar passed the seer and joked, "Well, the Ides of March are come", implying that the prophecy had not been fulfilled, to which the seer replied "Aye, they are come, but they are not gone " This meeting is famously dramatised in William Shakespeare's play Julius Caesar, when Caesar is warned by the soothsayer to "beware the Ides of March " The Roman biographer Suetonius identifies the "seer" as a haruspex named Spurinna 
Caesar's assassination opened the final chapter in the crisis of the Roman Republic  After his victory in Caesar's civil war, his death triggered a series of further Roman civil wars that would finally result in the rise to sole power of his adopted heir Octavian  In 27 BC, Octavian was raised to be emperor Augustus, and thus he finally terminated the Roman Republic  Writing under Augustus, Ovid portrays the murder as a sacrilege, since Caesar was also the pontifex maximus of Rome and a priest of Vesta  On the fourth anniversary of Caesar's death in 40 BC, after achieving a victory at the siege of Perugia, Octavian executed 300 senators and equites who had fought against him under Lucius Antonius, the brother of Mark Antony  The executions were one of a series of actions taken by Octavian to avenge Caesar's death  Suetonius and the historian Cassius Dio characterised the slaughter as a religious sacrifice, noting that it occurred on the Ides of March at the new altar to the deified Julius 

See also
The Ides of March – a 1948 novel by Thornton Wilder
The Ides of March (est  1964) – an American musical group
The Ides of March – a 2011 film by George Clooney, Beau Willimon and Grant Heslov
The Ides of March – a 2021 music album by Myles Kennedy
Passage 8:
Et tu, Brute?
Et tu, Brute? (pronounced [ɛt ˈtuː ˈbruːtɛ]) is a Latin phrase literally meaning "and you, Brutus?" or "also you, Brutus?", often translated as "You as well, Brutus?", "You too, Brutus?", or "Even you, Brutus?"  The quote appears in Act 3 Scene 1 of William Shakespeare's play Julius Caesar, where it is spoken by the Roman dictator Julius Caesar, at the moment of his assassination, to his friend Marcus Junius Brutus, upon recognizing him as one of the assassins  The first known occurrences of the phrase are said to be in two earlier Elizabethan plays; Henry VI, Part 3 by Shakespeare, and an even earlier play, Caesar Interfectus, by Richard Edes  The phrase is often used apart from the plays to signify an unexpected betrayal by a friend  
There is no evidence that the historical Caesar spoke these words  Though the historical Caesar's last words are not known with certainty, the Roman historian Suetonius, a century and a half after the incident, claims Caesar said nothing as he died, but that others reported that Caesar's last words were the Greek phrase Kai su, teknon (Και συ τέκνον), which means "You too, child" or "You too, young man" to Brutus  Contrary to popular belief, the words are not Caesar's last in the play, as he says "Then fall Caesar!" right after 

Etymology
The name Brutus, a second declension masculine noun, appears in the phrase in the vocative case, and so the -us ending of the nominative case is replaced by -e 

Context
On March 15 (the Ides of March), 44 BC, the historic Caesar was attacked by a group of senators, including Brutus, who was Caesar's friend and protégé  Caesar initially resisted his attackers, but when he saw Brutus, he reportedly responded as he died  Suetonius mentions the quote merely as a rumor, as does Plutarch who also reports that Caesar said nothing, but merely pulled his toga over his head when he saw Brutus among the conspirators Caesar saying Et tu, Brute? in Shakespeare's play Julius Caesar (1599) was not the first time the phrase was used in a dramatic play  Edmond Malone claimed that it appeared in a work that has since been lost—Richard Edes's Latin play Caesar Interfectus of 1582  The phrase had also occurred in another play by Shakespeare, The True Tragedie of Richard Duke of Yorke, and the death of good King Henrie the Sixth, with the Whole Contention betweene the two Houses Lancaster and Yorke of 1595, which is the earliest printed version of Henry VI, Part 3 

Interpretation
It has been argued that the phrase can be interpreted as a curse or warning  One theory states that the historic Caesar adapted the words of a Greek sentence which to the Romans had long since become proverbial: The complete phrase is said to have been "You too, my son, will have a taste of power", of which Caesar only needed to invoke the opening words to foreshadow Brutus' own violent death, in response to his assassination  The poem Satires; Book I, Satire 7 by Horace, written approximately 30 BC, mentions Brutus and his tyrannicide; in discussing that poem, author John Henderson considers that the expression E-t t-u Br-u-t-e, (as he hyphenates it), can be interpreted as a complaint containing a "suggestion of mimetic compulsion" 

See also
List of Latin phrases (E)
Context 2: Passage 1:
Atika Suri
Atika Suri (born Indragiri Hulu Regency, Riau; February 10, 1968) is an Indonesian TV newscasters and newscast producer 

Education and training
Atika Suri graduated from the Design and Art Faculty of Trisakti University in Jakarta   During her career as television journalist, Suri has attended several professional trainings including Peace Journalism from the BBC in 2001, CNN Television Workshop in October 2000, and TV News Production Workshops by Frank N  Magid Associates in 1995 and 1996 

Career
Suri began her career as a reporter and news presenter for RCTI's morning show, Nuansa Pagi, in 1993  Since 1994, Suri had been assigned to report Indonesia's presidential activities including reporting overseas visits of former presidents Suharto and Abdurrahman Wahid  As a presidential correspondent, Suri had conducted many live reports from overseas, and also established networks with sources such as cabinet ministers and officials  Suri also did live reports during the Asia-Pacific Economic Cooperation (APEC) Leaders Meeting in Bogor, Indonesia in 1994, and covered the Meeting of 77 Heads of the 3rd World Countries, or G-77 Conference, in Havana, Cuba 
Atika Suri is now the news producer of RCTI's newscast, Buletin Siang, one of the news programs in Indonesia  Suri manages the production of the newscast, selects stories and arranges the rundown, writes news stories and lead-ins, copies edit and approves the scripts prior to editing and on-air  She also helps translate materials from news agencies and voices them into Indonesian language 
Since 2004, Suri has been back to serve as the main anchor of RCTI’s morning newscast Nuansa Pagi along with co-anchor Ade Novit  She had also served as the main anchor of Buletin Siang, as well as the newscaster of Seputar Indonesia 
Atika Suri had been nominated as the most favorite female news presenter of the Panasonic Awards in 2000 
Passage 2:
Surichata
Surichata (Aymara and Quechua suri rhea, Pukina chata mountain, Hispanicized spelling Zorrichata) is a  mountain in the Andes of southern Peru, about 4,800 metres (15,748 ft) high  It is situated in the Puno Region, Puno Province, on the border of the districts San Antonio and Pichacani  Surichata lies north of the mountain Kunturiri and northeast of Wankarani and  Ninachiri 
Passage 3:
Europe-Asia Studies
Europe-Asia Studies is an academic peer-reviewed journal published 10 times a year by Routledge on behalf of the Institute of Central and East European Studies, University of Glasgow, and continuing (since vol  45, 1993) the journal Soviet Studies (vols  1–44, 1949–1992), which was renamed after the dissolution of the Soviet Union  The journal focuses on political, economic and social affairs of the countries of the former Soviet bloc and their successors, as well as their history in the 20th century  Both Europe-Asia Studies and Soviet Studies are available online with subscription via JSTOR from 1949 onwards 
According to the Journal Citation Reports, the journal has a 2020 impact factor of 2 102, ranking it --- out of 161 journals in the category "Political Science" 
Passage 4:
Khustigiri
Khustigiri (mentioned in census data as Khushtikuri) is a village in Ilambazar community development block in Bolpur subdivision of Birbhum District in the Indian state of West Bengal  It is 25 kilometres (16 mi) from Suri 

Overview
Khustigiri is famous for the Dargah Sharif which is believed to be a place of learning, getting peace of mind, and becoming free from diseases and mental distress  This sacred place was established by the great Sufi saint Syed Shah Abdullah Kermani about 500 years ago for providing service to mankind, by the order of his spiritual master, Makhdoom Shah Arzani  The serene environment draws the minds of all irrespective of race, caste, creed and religion  The Sufi saint Abdullah Kermani (in short Kermani Baba) had established khankah, Jama Masjid, madrasah, langor khana, atithi shala, nahabat khana, library, charitable dispensary etc  for the service to mankind  In addition to these, the attractions of this place are the big and beautiful tomb of Kermani with double domes, sacred Gangagore, khas mahal, tombs of 14 Kazis, Hazrat Museum, historical tamarind tree, big dias, new minar, beautiful garden and the mazars of the descendants of Kermani  Several functions and ceremonies are held throughout the year  Many centres under this dargah are being opened in various parts of West Bengal 

History
It is said that a Muslim saint Saiyad Shah Abdullah Kirmani when young left Kirman in Iran his native country and visited a Muslim saint Shah Arzani, who died at Patna during the reign of Shah Jahan in 1630 AD  Shah Arzani directed him to go to Bengal and gave him a toothpick of chambeli wood  He told him to stay at the place where the toothpick became fresh and green  He arrived in Birbum and stayed at Bargaon, where he performed several miracles (karamat) but the toothpick remained unchanged  He then moved on to Khustigiri  There one morning he found the toothpick to have become fresh and green  He planted it and it soon became a large tree   Shah Abdullah is specially renowned for his power over serpents  His dargah is in the hands of his descendants and is visited by numerous pilgrims 

Geography
Location
Khustigiri is located at 23 7605°N 87 536367°E﻿ / 23 7605; 87 536367 
Note: The map alongside presents some of the notable locations in the area  All places marked in the map are linked in the larger full screen map 

Fair
Medini mela is organised around the time of Muharram and Shab e Baraat  near the mazar of Shah Abdullah Kermani at Khustigiri  Above all urs is observed every year from 11th Falgun to 15th Falgun (24 to 28 February) every year where millions of people attend 

Demographics
As per the 2011 Census of India, Khushtikuri had a total population of 1,994 of which 1,039 (52%) were males and 955 (48%) were females  Population below 6 years was 294  The total number of literates in Khushtikuri was 1,243 (73 12% of the population over 6 years) 

Transport
Khustigiri is on the Panrui-Kurmitha Road 
Passage 5:
Trisakti Museum
Trisakti Museum or May 12 Tragedy Museum is a human rights museum in Jakarta, Indonesia  The museum documents the active role of Indonesian students at Trisakti University in fighting for democracy and human rights The museum briefly tells about four students who were shot on May 12, 1998  In the museum there are short articles, a collection of news from newspapers, ornaments, demonstration photographs, photographs of the deceased, and their relics 

History
Trisakti Museum was established with the background of the Indonesian university student movement in 1998, when the students across Indonesia rallied to demand reform The students at Trisakti University, as a part of the students in Indonesia as a whole, participated in a peaceful protest movement  The movement reach its peak when four students at Trisakti University were killed on May 12, 1998  This incident triggered the fall of Orde Baru To commemorate the tragedy, the museum was placed in the lobby of the Dr Syarif Thajeb building, on the campus of Trisakti University, Grogol, West Jakarta 

See also
Indonesian Revolution of 1998
Trisakti shootings
List of museums and cultural institutions in Indonesia
Passage 6:
Ann McKee
Ann McKee (born 1953) is a neuropathologist and expert in neurodegenerative disease at the New England Veterans Affairs Medical Centers (VISN-1) and is professor of neurology and pathology at Boston University School of Medicine and director of Boston University CTE Center  She is particularly known for her work studying Alzheimer's disease and the consequences of repetitive traumatic brain injury  In 2017, she was named "Bostonian of the Year" by The Boston Globe for her leading work in this area, and in 2018, Time named McKee one of its 100 most influential people 

Education
McKee earned her bachelor's degree at the University of Wisconsin and her medical degree at Case Western Reserve University School of Medicine  McKee then completed a fellowship in neuropathology at Massachusetts General Hospital and a residency in neurology at Cleveland Metropolitan General Hospital 

Career
McKee is the chief neuropathologist at New England Veterans Affairs Medical Centers (VISN-1), and director of the Boston University CTE Center and Neuropathology Core for the Boston University Alzheimer's Disease Center (BU ADC)  Dr  McKee is also associate director of the BU ADC  Dr  McKee directs multiple brain banks including those for the BU ADC and Framingham Heart Study which are based at the Bedford VA, and the VA-BU-CLF and Chronic Effects of Neurotrauma Consortium brain banks which are based at VA Boston  Dr  McKee's research focuses on CTE and the late-effects of traumatic neurodegeneration 
McKee is a leading authority on chronic traumatic encephalopathy (CTE), a degenerative brain disease  CTE is most commonly found in athletes participating in boxing, American football, ice hockey, other contact sports, and military service  In 2013, she reported that she had found evidence of CTE in over 70 of the athletes that she examined, including three NHL enforcers and 18 NFL players  McKee has presented her findings to National Football League officials and testified before the United States House Judiciary Committee  She has also studied diseases including Lewy body disease, Parkinson's disease, progressive supranuclear palsy, multiple system atrophy, frontotemporal lobar degeneration, and corticobasal degeneration 

Accolades and awards
McKee has received numerous awards in recognition of her work  In 2018, the Alzheimer's Association gave her the Henry Wisniewski Lifetime Achievement Award for her work  In the same year, Time magazine named her one of the 100 Most Influential People  Chris Borland, a former linebacker for the San Francisco 49ers who retired at the age of 24 due to brain injury concerns spurred by McKee's research, said "She may have saved my life  At the very least, her work has likely spared me much of the suffering we see today among former NFL players "

Personal life
McKee has three children and lives in Massachusetts  She has a long-term boyfriend named Gary, but he is known as "Harv" by friends and family  She is a Green Bay Packers fan 
Passage 7:
Neocollyris horsfieldi
Neocollyris horsfieldii is a species in the tiger beetle family Cicindelidae, found in Indonesia  It was described by William Macleay in 1825 and was named for Thomas Horsfield, an American naturalist who had worked extensively in Indonesia 
Passage 8:
Hokkien
The Hokkien () variety of Chinese is a Southern Min language native to and originating from the Minnan region, where it is widely spoken in the southeastern part of Fujian in southeastern mainland China  In Chinese linguistics, these languages are known by their classification under the Quanzhang division (Chinese: 泉漳片; pinyin: Quánzhāng piàn) of Min Nan, which comes from the first characters of the two main Hokkien urban centers of Quanzhou and Zhangzhou 
Hokkien (Taiwanese) is one of the national languages in Taiwan, and it is also widely spoken within the overseas Chinese diaspora in Singapore, Malaysia, the Philippines, Indonesia, Cambodia, Myanmar, Hong Kong, Thailand, Brunei and across the world  The mutually intelligibility between Hokkien dialects varies, but they are still held together by ethnolinguistic identity In Maritime Southeast Asia, Hokkien historically served as the lingua franca amongst overseas Chinese communities of all dialects and subgroups, and it remains today as the most spoken variety of Chinese in the region, including in Singapore, Malaysia, Philippines, Indonesia  This applied to a lesser extent to Mainland Southeast Asia  The Betawi Malay language, spoken by some five million people in and around the Indonesian capital Jakarta, includes numerous Hokkien loanwords due to the significant influence of the Chinese Indonesian diaspora, most of whom are of Hokkien ancestry and origin 

Names
Chinese speakers of the Quanzhang variety of Southern Min refer to the mainstream Southern Min language as

Bân-lâm-gú / Bân-lâm-ōe (闽南语/闽南话; 閩南語/閩南話, literally 'Southern Min Language/Speech') in China and Taiwan 
Tâi-gí / Tâi-gú (臺語, literally 'Taiwanese Language') or Ho̍h-ló-ōe / Hô-ló-ōe (福佬話, literally 'Hoklo Speech') in Taiwan 
Lán-nâng-ōe / Lán-lâng-ōe / Nán-nâng-ōe (咱人話 / 咱儂話, literally 'Our People's Speech') in the Philippines 
Hok-kiàn-ōe / Hok-kiàn-ōa (福建話, literally 'Hokkien Speech') in Malaysia, Singapore, Indonesia and Brunei In parts of Southeast Asia and in the English-speaking communities, the term Hokkien ([hɔk˥kiɛn˨˩]) is etymologically derived from the Southern Min pronunciation for Fujian (Chinese: 福建; pinyin: Fújiàn; Pe̍h-ōe-jī: Hok-kiàn), the province from which the language hails  In Southeast Asia and the English press, Hokkien is used in common parlance to refer to the Southern Min dialects of southern Fujian, and does not include reference to dialects of other Sinitic branches also present in Fujian such as the Fuzhou language (Eastern Min), Pu-Xian Min, Northern Min, Gan Chinese or Hakka  
The word Hokkien first originated from Walter Henry Medhurst when he published the Dictionary of the Hok-këèn Dialect of the Chinese Language, According to the Reading and Colloquial Idioms in 1832  This is considered to be the earliest English-based Hokkien Dictionary and the first major reference work in POJ, although the romanization within was quite different from the modern system  In this dictionary, the word "Hok-këèn" was used  In 1869, POJ was further revised by John Macgowan in his published book A Manual Of The Amoy Colloquial  In this book, "këèn" was changed to "kien" as "Hok-kien" and from then on, the word "Hokkien" began to be used more often  
Historically, Hokkien was also known as "Amoy", after the Hokkien name of Xiamen, the principal port of Southern Fujian during the Qing dynasty as one of the five ports opened to foreign trade by the Treaty of Nanking  By 1873, Rev  Carstairs Douglas would publish his dictionary named "Chinese–English Dictionary of the Vernacular or Spoken Language of Amoy, With the Principal Variations of the Chang-chew and Chin-chew Dialects " where he would call the language as "The Language of Amoy" or "The Amoy Vernacular" and by 1883, Rev  John Macgowan would publish another dictionary named "English and Chinese Dictionary of the Amoy Dialect"  Due to confusion with differentiating the Amoy dialect of Hokkien from Xiamen with the general language itself, many proscribe this usage though many old books and media may still be observed to be labeled with "Amoy" instead to generally refer to the language, besides the specific dialect of Hokkien from Xiamen 

Geographic distribution
Hokkien is spoken in the southern, seaward quarter of Fujian province, southeastern Zhejiang, and eastern Namoa Island in China; Taiwan; Metro Manila, Metro Cebu, Metro Davao and other cities in the Philippines; Singapore; Brunei; Medan, Riau and other cities in Indonesia; and from Perlis, Kedah, Penang and Taiping in Malaysia 

Hokkien originated in the southern area of Fujian province, an important center for trade and migration, and has since become one of the most common Chinese varieties overseas  The major pole of Hokkien varieties outside of Fujian is nearby Taiwan, where immigrants from Fujian arrived as workers during the 40 years of Dutch rule, fleeing the Qing dynasty during the 20 years of Ming loyalist rule, as immigrants during the 200 years of Qing dynasty rule, especially in the last 120 years after immigration restrictions were relaxed, and even as immigrants during the period of Japanese rule  The Taiwanese dialect mostly has origins with the Tung'an, Quanzhou and Zhangzhou variants, but since then, the Amoy dialect, also known as the Xiamen dialect, has become the modern prestige representative for the language in China  Both Amoy and Xiamen come from the Chinese name of the city (Chinese: 厦门; pinyin: Xiàmén; Pe̍h-ōe-jī: Ē-mûi); the former is from Zhangzhou Hokkien, whereas the latter comes from Mandarin 
There are many Minnan (Hokkien) speakers among overseas Chinese in Southeast Asia as well as in the United States (Hoklo Americans)  Many ethnic Han Chinese emigrants to the region were Hoklo from southern Fujian, and brought the language to what is now Burma (Myanmar), Vietnam, Indonesia (the former Dutch East Indies) and present day Malaysia and Singapore (formerly Malaya and the British Straits Settlements)  Most of the Minnan dialects of this region have incorporated some foreign loanwords  Hokkien is reportedly the native language of up to 80% of the ethnic Chinese people in the Philippines, among which is known locally as Lán-nâng-uē ("Our people's speech")  Hokkien speakers form the largest group of overseas Chinese in Singapore, Malaysia, Indonesia and Philippines 

Classification
Southern Fujian is home to four principal Minnan Proper (Hokkien) dialects: Chiangchew, Chinchew, Tung'an, and Amoy, originating from the cities of Quanzhou, Zhangzhou, historical Tung'an County (同安縣, now Xiamen and Kinmen) and her own Port of Amoy, respectively 
The Quanzhou dialect spoken in Quanzhou was the Traditional Representative Minnan  It is the dialect that is used in Liyuan Opera (梨園戲) and Nanguan music (南管)  The Quanzhou dialect is considered to be the most conservative Minnan dialect 
In the late 1800s, the Amoy dialect attracted special attention, because Amoy was one of the five ports opened to foreign trade by the Treaty of Nanking, but before that it had not attracted attention  The Amoy dialect is adopted as the Modern Representative Minnan  The Amoy dialect can not simply be interpreted as a mixture of the Zhangzhou and Quanzhou dialects, but rather it is formed on the foundation of the Tung'an dialect with further inputs from other sub-dialects  It has played an influential role in history, especially in the relations of Western nations with China, and was one of the most frequently learnt dialect of the Hokkien variety by Westerners during the second half of the 19th century and the early 20th century 
The Modern Representative form of Hokkien spoken around the city of Tainan (台南) in Taiwan heavily resembles the Tung'an dialect  All Hokkien dialects spoken throughout the whole of Taiwan are collectively known as Taiwanese Hokkien, or Holo locally, although there is a tendency to call these Taiwanese language for historical reasons  It is spoken by more Taiwanese than any Sinitic language except Mandarin, and it is known by a majority of the population; thus, from a socio-political perspective, it forms a significant pole of language usage due to the popularity of Holo-language media  Douglas (1873/1899) also noted that Formosa (Taiwan) has been settled mainly by emigrants from Amoy (Xiamen), Chang-chew (Zhangzhou), and Chin-chew (Quanzhou)  Several parts of the island are usually found to be specially inhabited by descendants of such emigrants, but in Taiwan, the various forms of the dialects mentioned prior are a good deal mixed up 

Southeast Asia
The varieties of Hokkien in Southeast Asia originate from these dialects  Douglas (1873/1899) notes that "Singapore and the various Straits Settlements [such as Penang and Malacca], Batavia [Jakarta] and other parts of the Dutch possessions [Indonesia], are crowded with emigrants, especially from the Chang-chew [Zhangzhou] prefecture; Manila and other parts of the Philippines have great numbers from Chin-chew [Quanzhou], and emigrants are largely scattered in like manner in Siam [Thailand], Burmah [Myanmar], the Malay Peninsula [Peninsular Malaysia], Cochin China [Southern Vietnam, Cambodia, Laos], Saigon [Ho Chi Minh City, Vietnam], &c  In many of these places there is also a great mixture of emigrants from Swatow [Shantou] "In modern times though, a mixed dialect descended from the Quanzhou, Amoy, and Zhangzhou dialects, leaning a little closer to the Quanzhou dialect, possibly due to being from the Tung'an dialect, is spoken by Chinese Singaporeans, Southern Malaysian Chinese, and Chinese Indonesians in Indonesia's Riau province and Riau Islands  Variants include Southern Peninsular Malaysian Hokkien and Singaporean Hokkien in Singapore 
Among Malaysian Chinese of Penang, and other states in Northern Peninsular Malaysia and ethnic Chinese Indonesians in Medan, with other areas in North Sumatra, Indonesia, a distinct descendant dialect form of Zhangzhou Hokkien has developed  In Penang, Kedah and Perlis, it is called Penang Hokkien while across the Malacca Strait in Medan, an almost identical variant is known as Medan Hokkien 
As for Chinese Filipinos in the Philippines, a variant known as Philippine Hokkien, which is also mostly derived from Quanzhou Hokkien, particularly the Jinjiang and Nan'an dialects with a bit of influence from the Amoy (Xiamen) dialect, is still spoken amongst families as most also profess ancestors from the aforementioned areas 
There are also Hokkien speakers scattered throughout other parts of Indonesia (such as Jakarta and around the island of Java), Thailand (especially Southern Thailand on the border with Malaysia), Myanmar, other parts of Malaysia (such as Eastern (Insular) Malaysia), Brunei, Cambodia, and Southern Vietnam (such as in Saigon / Ho Chi Minh City), though there are notably more of Teochew/Swatow background among descendants of Chinese migrants in regions such as parts of Peninsular Malaysia, Thailand, Cambodia, Laos, and Southern Vietnam 

History
Variants of Hokkien dialects can be traced to three sources of origin: Tong'an, Quanzhou and Zhangzhou  Both Amoy Hokkien and most of Taiwanese Hokkien is heavily based on the Tong'an dialect, and to a lesser extent, on Quanzhou and Zhangzhou dialects, while the rest of the Hokkien dialects spoken in South East Asia are derived their respective homelands in southern Fujian 

Southern Fujian
During the Three Kingdoms period of ancient China, there was constant warfare occurring in the Central Plain of China  Northerners began to enter into Fujian region, causing the region to incorporate parts of northern Chinese dialects  However, the massive migration of northern Han Chinese into Fujian region mainly occurred after the Disaster of Yongjia  The Jìn court fled from the north to the south, causing large numbers of northern Han Chinese to move into Fujian region  They brought the Old Chinese spoken in the Central Plain of China from the prehistoric era to the 3rd century into Fujian 
In 677 (during the reign of Emperor Gaozong of Tang), Chen Zheng, together with his son Chen Yuanguang, led a military expedition to suppress a rebellion of the She people  In 885, (during the reign of Emperor Xizong of Tang), the two brothers Wang Chao and Wang Shenzhi, led a military expedition force to suppress the Huang Chao rebellion  Waves of migration from the north in this era brought the language of Middle Chinese into the Fujian region 

Xiamen (Amoy)
The Amoy dialect is the main dialect spoken in area of Port of Xiamen, that is, southwest corner of Xiamen island in the Chinese city of Xiamen (formerly romanized and natively pronounced as "Amoy")  Historically, Port of Xiamen had always been part of Tung'an country until after 1912 of Republic of China era  Amoy dialect cannot simply be interpreted as a mixture of Zhangzhou and Quanzhou dialects, but rather it is formed on the foundation of Tung'an dialect with further inputs from other sub-dialects, namely from the adjacent Zhangzhou dialect 

Early sources
Several playscripts survive from the late 16th century, written in a mixture of Quanzhou and Chaozhou dialects  The most important is the Romance of the Litchi Mirror, with extant manuscripts dating from 1566 and 1581 In the early 17th century, Spanish friars in the Philippines produced materials documenting the Hokkien varieties spoken by the Chinese trading community who had settled there in the late 16th century:
Doctrina Christiana en letra y lengua china (1593), a Hokkien version of the Doctrina Christiana 
Diccionarium Sino-Hispanicum (1604), a Spanish–Hokkien dictionary, giving equivalent words, but not definitions 
Bocabulario de la lengua sangleya (c  1617), a Spanish–Hokkien dictionary, with definitions 
Arte de la Lengua Chiõ Chiu (1620), a Spanish–Hokkien grammar These texts appear to record a Zhangzhou dialect, from the old port of Yuegang (modern-day Haicheng, an old port that is now part of Longhai) Chinese scholars produced rhyme dictionaries describing Hokkien varieties at the beginning of the 19th century:
Lūi-im Biāu-ngō͘ (Huìyīn Miàowù) (彙音妙悟 "Understanding of the collected sounds") was written around 1800 by Huang Qian (黃謙), and describes the Quanzhou dialect  The oldest extant edition dates from 1831 
Lūi-chi̍p Ngé-sio̍k-thong Si̍p-ngó͘-im (Huìjí Yǎsútōng Shíwǔyīn) (彙集雅俗通十五音 "Compilation of the fifteen elegant and vulgar sounds") by Xie Xiulan (謝秀嵐) describes the Zhangzhou dialect  The oldest extant edition dates from 1818 Walter Henry Medhurst based his 1832 dictionary on the latter work 

Phonology
Hokkien has one of the most diverse phoneme inventories among Chinese varieties, with more consonants than Standard Mandarin and Cantonese  Vowels are more-or-less similar to that of Mandarin  Hokkien varieties retain many pronunciations that are no longer found in other Chinese varieties  These include the retention of the /t/ initial, which is now /tʂ/ (Pinyin 'zh') in Mandarin (e g  'bamboo' 竹 is tik, but zhú in Mandarin), having disappeared before the 6th century in other Chinese varieties  Along with other Min languages, which are not directly descended from Middle Chinese, Hokkien is of considerable interest to historical linguists for reconstructing Old Chinese 

Initials
Southern Min has aspirated, unaspirated as well as voiced consonant initials  For example, the word khui (開; "open") and kuiⁿ (關; "close") have the same vowel but differ only by aspiration of the initial and nasality of the vowel  In addition, Southern Min has labial initial consonants such as m in m̄-sī (毋是; "is not") 
Another example is ta-po͘-kiáⁿ (查埔囝; "boy") and cha-bó͘-kiáⁿ (查某囝; "girl"), which differ in the second syllable in consonant voicing and in tone 

All consonants but ʔ may be nasalized; voiced oral stops may be nasalized into voiced nasal stops 
Nasal stops mostly occur word-initially 
Quanzhou and nearby may pronounce ⟨j⟩/⟨dz⟩ as ⟨l⟩ or ⟨g⟩ 
⟨l⟩ is often interchanged with ⟨n⟩ and ⟨j⟩/⟨dz⟩ throughout different dialects 
⟨j⟩, sometimes into ⟨dz⟩, is often pronounced very thick so as to change to ⟨l⟩, or very nearly so 
Some dialects may pronounce ⟨l⟩ as ⟨d⟩, or a sound very like it 
Approximant sounds [w] [j], only occur word-medially, and are also realized as laryngealized [w̰] [j̰], within a few medial and terminal environments 

Finals
Unlike Mandarin, Hokkien retains all the final consonants corresponding to those of Middle Chinese  While Mandarin only preserves the n and ŋ finals, Southern Min also preserves the m, p, t and k finals and has developed the ʔ (glottal stop) 
The vowels of Hokkien are listed below:
(*)Only certain dialects

Oral vowel sounds are realized as nasal sounds when preceding a nasal consonant 

Dialectal Sound Shifts
The following table illustrates some of the more commonly seen vowel shifts between various dialects  Further example character that features the same vowel shift is shown in parenthesis 

Tones
According to the traditional Chinese system, Hokkien dialects have 7 or 8 distinct tones, including two entering tones which end in plosive consonants  The entering tones can be analysed as allophones, giving 5 or 6 phonemic tones  In addition, many dialects have an additional phonemic tone ("tone 9" according to the traditional reckoning), used only in special or foreign loan words  This means that Hokkien dialects have between 5 and 7 phonemic tones 
Tone sandhi is extensive  There are minor variations between the Quanzhou and Zhangzhou tone systems  Taiwanese tones follow the patterns of Amoy or Quanzhou, depending on the area of Taiwan 

Dialects
The Hokkien language (Minnan) is spoken in a variety of accents and dialects across the Minnan region  The Hokkien spoken in most areas of the three counties of southern Zhangzhou have merged the coda finals -n and -ng into -ng  The initial consonant j (dz and dʑ) is not present in most dialects of Hokkien spoken in Quanzhou, having been merged into the d or l initials 
The -ik or -ɪk final consonant that is preserved in the native Hokkien dialects of Zhangzhou and Xiamen is also preserved in the Nan'an dialect (色, 德, 竹) but are pronounced as -iak in Quanzhou Hokkien 
Quanzhou Hokkien dialects (泉州閩南片):
Anxi dialect (安溪話)
Dehua dialect (德化話)
Hui'an dialect (惠安話)
Jinjiang dialect (晋江話)
Nan'an dialect (南安話)
Quanzhou dialect (泉州話)
Yongchun dialect (永春話)
Youxi dialect (尤溪話)
Philippine Hokkien (咱人話/咱儂話/菲律賓福建話)
Zhangzhou Hokkien dialects (漳州閩南片):
Longxi dialect (龍溪話)
Longyan dialect (龍巖話)
Pinghe dialect (平和話)
Yunxiao dialect (雲霄話)
Zhangpu dialect (漳浦話)
Zhangzhou dialect (漳州話)
Zhao'an dialect (詔安話)
Haifeng dialect (海豐話)
Lufeng dialect (陸豐話)
Penang Hokkien (檳城/庇能福建話)
Medan Hokkien (棉蘭福建話)
Tong'an dialect (同安話)
Tong'an (同安)
Kinmen (金門話)
Southern Peninsular Malaysian Hokkien (南馬福建話)
Singaporean Hokkien (新加坡福建話))
Amoy dialect (廈門話)
Taiwanese Hokkien (臺灣話/臺灣閩南語/台語)

Comparison
The Amoy dialect (Xiamen) is a variant of the Tung'an dialect  Majority of Taiwanese, from Tainan, to Taichung, to Taipei, is also heavily based on Tung'an dialect while incorporating some vowels of Zhangzhou dialect, whereas Southern Peninsular Malaysian Hokkien, including Singaporean Hokkien, is based on the Tung'an dialect, with Philippine Hokkien on the Quanzhou dialect, and Penang Hokkien on Zhangzhou dialect  There are some variations in pronunciation and vocabulary between Quanzhou and Zhangzhou dialects  The grammar is generally the same 
Additionally, extensive contact with the Japanese language has left a legacy of Japanese loanwords in Taiwanese Hokkien  On the other hand, the variants spoken in Singapore and Malaysia have a substantial number of loanwords from Malay and to a lesser extent, from English and other Chinese varieties, such as the closely related Teochew and some Cantonese  Meanwhile, in the Philippines, there are also a few Spanish and Filipino (Tagalog) loanwords, while it is also currently a norm to frequently codeswitch with English, Filipino (Tagalog), and in some cases other Philippine languages, such as Cebuano 

Mutual intelligibility
Tong'an, Xiamen, Taiwanese, Singaporean dialects as a group are more mutually intelligible, but it is less so amongst the forementioned group, Quanzhou dialect, and Zhangzhou dialect Although the Min Nan varieties of Teochew and Amoy are 84% phonetically similar including the pronunciations of un-used Chinese characters as well as same characters used for different meanings, and 34% lexically similar,, Teochew has only 51% intelligibility with the Tong'an Hokkien|Tung'an dialect (Cheng 1997) whereas Mandarin and Amoy Min Nan are 62% phonetically similar and 15% lexically similar  In comparison, German and English are 60% lexically similar Hainanese, which is sometimes considered Southern Min, has almost no mutual intelligibility with any form of Hokkien 

Grammar
Hokkien is an analytic language; in a sentence, the arrangement of words is important to its meaning  A basic sentence follows the subject–verb–object pattern (i e  a subject is followed by a verb then by an object), though this order is often violated because Hokkien dialects are topic-prominent  Unlike synthetic languages, seldom do words indicate time, gender and plural by inflection  Instead, these concepts are expressed through adverbs, aspect markers, and grammatical particles, or are deduced from the context  Different particles are added to a sentence to further specify its status or intonation 
A verb itself indicates no grammatical tense  The time can be explicitly shown with time-indicating adverbs  Certain exceptions exist, however, according to the pragmatic interpretation of a verb's meaning  Additionally, an optional aspect particle can be appended to a verb to indicate the state of an action  Appending interrogative or exclamative particles to a sentence turns a statement into a question or shows the attitudes of the speaker 
Hokkien dialects preserve certain grammatical reflexes and patterns reminiscent of the broad stage of Archaic Chinese  This includes the serialization of verb phrases (direct linkage of verbs and verb phrases) and the infrequency of nominalization, both similar to Archaic Chinese grammar 

Choice of grammatical function words also varies significantly among the Hokkien dialects  For instance, khit (乞) (denoting the causative, passive or dative) is retained in Jinjiang (also unique to the Jinjiang dialect is thō͘ 度) and in Jieyang, but not in Longxi and Xiamen, whose dialects use hō͘ (互/予) instead 

Pronouns
Hokkien dialects differ in the pronunciation of some pronouns (such as the second person pronoun lí or lú or lír), and also differ in how to form plural pronouns (such as -n or -lâng)  Personal pronouns found in the Hokkien dialects are listed below:

1 Exclusive
2 Inclusive
3 儂 (-lâng) is typically suffixed in Southeast Asian Hokkien dialects (with the exception of Philippine Hokkien)Possessive pronouns can be marked by the particle ê (的), in the same way as normal nouns  In some dialects, possessive pronouns can also be formed with a nasal suffix, which means that possessive pronouns and plural pronouns are homophones:

The most common reflexive pronoun is ka-kī (家己)  In formal contexts, chū-kí (自己) is also used 
Hokkien dialects use a variety of demonstrative pronouns, which include:

this – che (這, 即), chit-ê (即個)
that – he (許, 彼), hit-ê (彼個)
here – chia (遮), chit-tau (即兜)
there – hia (遐), hit-tau (彼兜)The interrogative pronouns include:

what – siáⁿ-mih (啥物), sím-mih (甚麼), há-mi̍h (何物)
when – tī-sî (底時), kúi-sî (幾時), tang-sî (當時), sím-mih sî-chūn (甚麼時陣)
where – tó-lo̍h (倒落), tó-uī (倒位)
who – siáⁿ-lâng (啥人), siáng (誰),
why – ūi-siáⁿ-mih (為啥物), ūi-sím-mih (為甚物), án-chóaⁿ (按怎), khah (盍)
how – án-chóaⁿ (按怎), lû-hô (如何), cháiⁿ-iūⁿ (怎樣)

Copula ("to be")
States and qualities are generally expressed using stative verbs that do not require the verb "to be":

With noun complements, the verb sī (是) serves as the verb "to be" 

To indicate location, the words tī (佇) tiàm (踮), leh (咧), which are collectively known as the locatives or sometimes coverbs in Chinese linguistics, are used to express "(to be) at":

Negation
Hokkien dialects have a variety of negation particles that are prefixed or affixed to the verbs they modify  There are six primary negation particles in Hokkien dialects (with some variation in how they are written in characters):

m̄ (毋, 呣, 唔, 伓)
bē (未)
bōe ()
mài (莫, 【勿愛】)
bô (無)
put (不) – literaryOther negative particles include:

bâng (甭)
bián (免)
thài (汰)The particle m̄ (毋, 呣, 唔, 伓) is general and can negate almost any verb:

The particle mài (莫, 【勿爱】), a concatenation of m-ài (毋愛) is used to negate imperative commands:

The particle bô (無) indicates the past tense:

The verb 'to have', ū (有) is replaced by bô (無) when negated (not 無有):

The particle put (不) is used infrequently, mostly found in literary compounds and phrases:

Vocabulary
The majority of Hokkien vocabulary is monosyllabic  Many Hokkien words have cognates in other Chinese varieties  That said, there are also many indigenous words that are unique to Hokkien and are potentially not of Sino-Tibetan origin, while others are shared by all the Min dialects (e g  'congee' is 糜 mê, bôe, bê, not 粥 zhōu, as in other dialects) 
As compared to Mandarin, Hokkien dialects prefer to use the monosyllabic form of words, without suffixes  For instance, the Mandarin noun suffix 子 (zi) is not found in Hokkien words, while another noun suffix, 仔 (á) is used in many nouns  Examples are below:

'duck' – 鴨 ah or 鴨仔 ah-á (SC: 鴨子 yāzi)
'color' – 色 sek (SC: 顏色 yán sè)In other bisyllabic morphemes, the syllables are inverted, as compared to Mandarin  Examples include the following:

'guest' – 人客 lâng-kheh (SC: 客人 kèrén)In other cases, the same word can have different meanings in Hokkien and Mandarin  Similarly, depending on the region Hokkien is spoken in, loanwords from local languages (Malay, Tagalog, Burmese, among others), as well as other Chinese dialects (such as Southern Chinese dialects like Cantonese and Teochew), are commonly integrated into the vocabulary of Hokkien dialects 

Literary and colloquial readings
The existence of literary and colloquial readings is a prominent feature of some Hokkien dialects and indeed in many Sinitic varieties in the south  The bulk of literary readings (文讀, bûn-tha̍k), based on pronunciations of the vernacular during the Tang dynasty, are mainly used in formal phrases and written language (e g  philosophical concepts, given names, and some place names), while the colloquial (or vernacular) ones (白讀, pe̍h-tha̍k) are usually used in spoken language, vulgar phrases and surnames  Literary readings are more similar to the pronunciations of the Tang standard of Middle Chinese than their colloquial equivalents  
The pronounced divergence between literary and colloquial pronunciations found in Hokkien dialects is attributed to the presence of several strata in the Min lexicon  The earliest, colloquial stratum is traced to the Han dynasty (206 BCE – 220 CE); the second colloquial one comes from the period of the Northern and Southern dynasties (420–589 CE); the third stratum of pronunciations (typically literary ones) comes from the Tang dynasty (618–907 CE) and is based on the prestige dialect of Chang'an (modern day Xi'an), its capital Some commonly seen sound correspondences (colloquial → literary) are as follows:

p- ([p-], [pʰ-]) → h ([h-])
ch-, chh- ([ts-], [tsʰ-], [tɕ-], [tɕʰ-]) → s ([s-], [ɕ-])
k-, kh- ([k-], [kʰ-]) → ch ([tɕ-], [tɕʰ-])
-ⁿ ([-ã], [-uã]) → n ([-an])
-h ([-ʔ]) → t ([-t])
i ([-i]) → e ([-e])
e ([-e]) → a ([-a])
ia ([-ia]) → i ([-i])This table displays some widely used characters in Hokkien that have both literary and colloquial readings:
This feature extends to Chinese numerals, which have both literary and colloquial readings  Literary readings are typically used when the numerals are read out loud (e g  phone numbers, years), while colloquial readings are used for counting items 

Semantic differences between Hokkien and Mandarin
Quite a few words from the variety of Old Chinese spoken in the state of Wu, where the ancestral language of Min and Wu dialect families originated, and later words from Middle Chinese as well, have retained the original meanings in Hokkien, while many of their counterparts in Mandarin Chinese have either fallen out of daily use, have been substituted with other words (some of which are borrowed from other languages while others are new developments), or have developed newer meanings  The same may be said of Hokkien as well, since some lexical meaning evolved in step with Mandarin while others are wholly innovative developments 
This table shows some Hokkien dialect words from Classical Chinese, as contrasted to the written Mandarin:

For other words, the classical Chinese meanings of certain words, which are retained in Hokkien dialects, have evolved or deviated significantly in other Chinese dialects  The following table shows some words that are both used in both Hokkien dialects and Mandarin Chinese, while the meanings in Mandarin Chinese have been modified:

Words from Minyue
Some commonly used words, shared by all Min Chinese languages, came from the ancient Minyue languages  Jerry Norman suggested that these languages were Austroasiatic  Some terms are thought be cognates with words in Tai Kadai and Austronesian languages  They include the following examples, compared to the Fuzhou dialect, a Min Dong language:

Loanwords
Loanwords are not unusual among Hokkien dialects, as speakers readily adopted indigenous terms of the languages they came in contact with  As a result, there is a plethora of loanwords that are not mutually comprehensible among Hokkien dialects 
Taiwanese Hokkien, as a result of linguistic contact with Japanese and Formosan languages, contains many loanwords from these languages  Many words have also been formed as calques from Mandarin, and speakers will often directly use Mandarin vocabulary through codeswitching  Among these include the following examples:

'toilet' – piān-só͘ (便所) from Japanese benjo (便所)
Other Hokkien variants: 屎礐 (sái-ha̍k), 廁所 (chhek-só͘)
'car' – chū-tōng-chhia (自動車) from Japanese jidōsha (自動車)
Other Hokkien variants: 風車 (hong-chhia), 汽車 (khì-chhia)
'to admire' – kám-sim (Chinese: 感心) from Japanese kanshin (感心)
Other Hokkien variants: 感動 (kám-tōng)
'fruit' – chúi-ké / chúi-kóe / chúi-kér (水果) from Mandarin (水果; shuǐguǒ)
Other Hokkien variants: 果子 (ké-chí / kóe-chí / kér-chí)Singaporean Hokkien, Penang Hokkien and other Malaysian Hokkien dialects tend to draw loanwords from Malay, English as well as other Chinese dialects, primarily Teochew  Examples include:

'but' – ta-pi, from Malay
Other Hokkien variants: 但是 (tān-sī)
'doctor' – 老君 ló-kun, from Malay dukun
Other Hokkien variants: 醫生(i-seng)
'stone/rock' – bà-tû, from Malay batu
Other Hokkien variants: 石头(chio̍h-thâu)
'market' – 巴剎 pa-sat, from Malay	pasar from Persian bazaar (بازار)Other Hokkien variants: 市場 (chhī-tiûⁿ), 菜市 (chhài-chhī)
'they' – 伊儂 i-lâng from Teochew (i1 nang5)
Other Hokkien variants: 𪜶 (in)
'together' – 做瓠 chò-bú from Teochew 做瓠 (jo3 bu5)
Other Hokkien variants: 做夥 (chò-hóe), 同齊 (tâng-chê) or 鬥陣 (tàu-tīn)
'soap' – 雪文 sap-bûn from Malay sabun from Arabic ṣābūn (صابون) Philippine Hokkien, as a result of centuries-old contact with both Philippine languages and Spanish also incorporate words from these languages  Speakers today will also often directly use English and Filipino (Tagalog), or other Philippine languages like Bisaya, vocabulary through codeswitching  Examples include:

'cup' – ba-sù, from either Filipino (Tagalog) baso or Spanish vaso
Other Hokkien variants: 杯仔 (poe-á), 杯 (poe)
'office' – o-pi-sín, from Filipino (Tagalog) opisina, which itself is from Spanish oficina
Other Hokkien variants: 辦公室 (pān-kong-sek/pān-kong-siak)
'soap' – sap-bûn, from either Filipino (Tagalog) sabon or Early Modern Spanish xabon
'coffee' – ka-pé, from Filipino (Tagalog) kape, which itself is from Spanish café
Other Hokkien variants: 咖啡 (ko-pi), 咖啡 (ka-pi)
'to pay' – pá-lâ, from Spanish paga
Other Hokkien variants: 予錢 (hō͘-chîⁿ), 還錢 (hêng-chîⁿ)
'dozen' – lo-sin, from English  dozen
Other Hokkien variants: 打 (táⁿ)Also, Philippine Hokkien usually follows the 3 decimal place numerical system used worldwide, but still retains the concept of 萬 (bān, "ten thousand") from the Chinese numerical system, so 10,000 would be 一萬 (chi̍t-bān), but 11,000 would be 十一千 (cha̍p-it-chheng) instead of 一萬一千 (chi̍t-bān chi̍t-chheng) and so on  Also, it additionally has words for the concept of "million", that being 桶 (tháng) or 面桶 (bīn-tháng) instead of 百萬 (pah-bān), so "one million" would be 一桶 (chi̍t-tháng) or 一面桶 (chi̍t-bīn-tháng), and sometimes "one hundred million" would be 一百桶 (chi̍t-pah-tháng) or 一億 (chi̍t-iak) 

Comparison with Mandarin and Sino-Xenic pronunciations
Cultural center
Quanzhou was historically the cultural center for Hokkien, as various traditional Hokkien cultural customs such as Nanguan music, Beiguan music, glove puppetry, and the Kaoka (高甲戲) and Lewan (梨園戲) genres of Hokkien opera originated from Quanzhou  This was mainly due to the fact that Quanzhou had become an important trading and commercial port since the Tang dynasty and had prospered into an important city  After the Opium War in 1842, Xiamen (Amoy) became one of the major treaty ports to be opened for trade with the outside world  From the mid-19th century onwards, Xiamen slowly developed to become the political and economical center of the Hokkien-speaking region in China  This caused the Amoy dialect to gradually replace the position of dialects from Quanzhou and Zhangzhou  From the mid-19th century until the end of World War II, western diplomats usually learned Amoy as the preferred dialect if they were to communicate with the Hokkien-speaking populace in China or Southeast Asia  In the 1940s and 1950s, Taiwan also tended to incline towards Amoy dialect 
The retreat of the Republic of China to Taiwan in 1949 drove party leaders to seek to both culturally and politically assimilate the islanders  As a result, laws were passed throughout the 1950s to suppress Hokkien and other languages in favor of Mandarin  By 1956, speaking Hokkien in ROC schools or military bases was illegal  However, popular outcry from both older islander communities and more recent Mainlander immigrants prompted a general wave of education reform, during which these and other education restrictions were lifted  The general goal of assimilation remained, with Amoy Hokkien seen as less ‘native’ and therefore preferred However, from the 1980s onwards, the development of Taiwanese Min Nan pop music and media industry in Taiwan caused the Hokkien cultural hub to shift from Xiamen to Taiwan  The flourishing Taiwanese Min Nan entertainment and media industry from Taiwan in the 1990s and early 21st century led Taiwan to emerge as the new significant cultural hub for Hokkien 
In the 1990s, marked by the liberalization of language development and mother tongue movement in Taiwan, Taiwanese Hokkien had undergone a fast pace in its development  In 1993, Taiwan became the first region in the world to implement the teaching of Taiwanese Hokkien in Taiwanese schools  In 2001, the local Taiwanese language program was further extended to all schools in Taiwan, and Taiwanese Hokkien became one of the compulsory local Taiwanese languages to be learned in schools  The mother tongue movement in Taiwan even influenced Xiamen (Amoy) to the point that in 2010, Xiamen also began to implement the teaching of Hokkien dialect in its schools  In 2007, the Ministry of Education in Taiwan also completed the standardization of Chinese characters used for writing Hokkien and developed Tai-lo as the standard Hokkien pronunciation and romanization guide  A number of universities in Taiwan also offer Taiwanese degree courses for training Hokkien-fluent talents to work for the Hokkien media industry and education  Taiwan also has its own Hokkien literary and cultural circles whereby Hokkien poets and writers compose poetry or literature in Hokkien 
Thus, by the 21st century, Taiwan had become one of the most significant Hokkien cultural hubs of the world  The historical changes and development in Taiwan had led Taiwanese Hokkien to become the most influential pole of the Hokkien dialect after the mid-20th century  Today, the Taiwanese prestige dialect (Taiyu Youshiqiang/Tongxinqiang 台語優勢腔/通行腔) is heard on Taiwanese media 

Writing systems
Chinese script
Hokkien dialects are typically written using Chinese characters (漢字, Hàn-jī)  However, the written script was and remains adapted to the literary form, which is based on classical Chinese, not the vernacular and spoken form  Furthermore, the character inventory used for Mandarin (standard written Chinese) does not correspond to Hokkien words, and there are a large number of informal characters (替字, thè-jī or thòe-jī; 'substitute characters') which are unique to Hokkien (as is the case with Cantonese)  For instance, about 20 to 25% of Taiwanese morphemes lack an appropriate or standard Chinese character While most Hokkien morphemes have standard designated characters, they are not always etymological or phono-semantic  Similar-sounding, similar-meaning or rare characters are commonly borrowed or substituted to represent a particular morpheme  Examples include "beautiful" (美 bí is the literary form), whose vernacular morpheme suí is represented by characters like 媠 (an obsolete character), 婎 (a vernacular reading of this character) and even 水 (transliteration of the sound suí), or "tall" (高 ko is the literary form), whose morpheme kôan is 懸  Common grammatical particles are not exempt; the negation particle m̄ (not) is variously represented by 毋, 呣 or 唔, among others  In other cases, characters are invented to represent a particular morpheme (a common example is the character 𪜶 in, which represents the personal pronoun "they")  In addition, some characters have multiple and unrelated pronunciations, adapted to represent Hokkien words  For example, the Hokkien word bah ("meat") has been reduced to the character 肉, which has etymologically unrelated colloquial and literary readings (he̍k and jio̍k, respectively)  Another case is the word 'to eat,' chia̍h, which is often transcribed in Taiwanese newspapers and media as 呷 (a Mandarin transliteration, xiā, to approximate the Hokkien term), even though its recommended character in dictionaries is 食 Moreover, unlike Cantonese, Hokkien does not have a universally accepted standardized character set  Thus, there is some variation in the characters used to express certain words and characters can be ambiguous in meaning  In 2007, the Ministry of Education of the Republic of China formulated and released a standard character set to overcome these difficulties  These standard Chinese characters for writing Taiwanese Hokkien are now taught in schools in Taiwan 

Latin script
Hokkien, especially Taiwanese Hokkien, is sometimes written in the Latin script using one of several alphabets  Of these the most popular is POJ, developed first by Presbyterian missionaries in China and later by the indigenous Presbyterian Church in Taiwan  Use of this script and orthography has been actively promoted since the late 19th century  The use of a mixed script of Han characters and Latin letters is also seen, though remains uncommon  Other Latin-based alphabets also exist 
Min Nan texts, all Hokkien, can be dated back to the 16th century  One example is the Doctrina Christiana en letra y lengua china, presumably written around 1593 by the Spanish Dominican friars in the Philippines  Another is a Ming dynasty script of a play called Tale of the Lychee Mirror (1566), supposedly the earliest Southern Min colloquial text, although it is written in Teochew dialect 
Taiwan has developed a Latin alphabet for Taiwanese Hokkien, derived from POJ, known as Tai-lo  Since 2006, it has been officially promoted by Taiwan's Ministry of Education and taught in Taiwanese schools  Xiamen University has also developed an alphabet based on Pinyin called Bbánlám pìngyīm 

Computing
Hokkien is registered as "Southern Min" per RFC 3066 as zh-min-nan When writing Hokkien in Chinese characters, some writers create 'new' characters when they consider it impossible to use directly or borrow existing ones; this corresponds to similar practices in character usage in Cantonese, Vietnamese chữ nôm, Korean hanja and Japanese kanji  Some of these are not encoded in Unicode (or the corresponding ISO/IEC 10646: Universal Character Set), thus creating problems in computer processing 
All Latin characters required by Pe̍h-ōe-jī can be represented using Unicode (or the corresponding ISO/IEC 10646: Universal Character Set), using precomposed or combining (diacritics) characters  Prior to June 2004, the vowel akin to but more open than o, written with a dot above right, was not encoded  The usual workaround was to use the (stand-alone; spacing) character Interpunct (U+00B7, ·) or less commonly the combining character dot above (U+0307)  As these are far from ideal, since 1997 proposals have been submitted to the ISO/IEC working group in charge of ISO/IEC 10646—namely, ISO/IEC JTC1/SC2/WG2—to encode a new combining character dot above right  This is now officially assigned to U+0358 (see documents N1593, N2507, N2628,
N2699, and N2713) 

Cultural and political role
Hokkien (or Min Nan) can trace its roots through the Tang dynasty and also even further to the people of the Minyue, the indigenous non-Han people of modern-day Fujian  Min Nan (Hokkien) people call themselves "Tang people," (唐人; Tn̂g-lâng) which is synonymous to "Chinese people"  Because of the widespread influence of the Tang culture during the great Tang dynasty, there are today still many Min Nan pronunciations of words shared by the Vietnamese, Korean and Japanese languages 
In 2002, the Taiwan Solidarity Union, a party with about 10% of the Legislative Yuan seats at the time, suggested making Taiwanese a second official language  This proposal encountered strong opposition not only from Mainlander groups but also from Hakka and Taiwanese aboriginal groups who felt that it would slight their home languages  Because of these objections, support for this measure was lukewarm among moderate Taiwan independence supporters, and the proposal did not pass 
Hokkien was finally made an official language of Taiwan in 2018 by the ruling DPP government 

See also
Hokkien Kelantan
Hokkien people
Languages of China
Languages of Taiwan
List of Hokkien dictionaries
List of Hokkien people
Amoy Min Nan Swadesh list
Passage 9:
Aloysius Orjinta
Aloysius Orjinta is a Nigerian Roman Catholic priest and senior lecturer in the University of Nigeria, Nsukka  He was ordained a priest in 1990  A holder of two doctorates in French Studies and in German Studies and Political Science, with specialty in International Relations, he is a former Head of Department of Foreign Languages and Literary Studies in the university  He has studied and worked in Italy, Germany, France, and in Nigeria where he currently lives  He attended Urban University, Rome, the University of Saarland, Ludwig Maximilian University of Munich, University of Grenoble, and the University of Ibadan in addition to his current workplace where he was an undergraduate  A researcher and critic, his academic publications and interest cover religious writings on Christianity and Islam, gender and feminist studies, political discourse, and Euro-African literature with emphasis on German, Francophone and Anglophone works  He is a member of, and has served on, the managing boards of many organisations in Nigeria and outside the country, most times as the head  Currently, he is the editor of Interdisciplinary Academic Essays, Elite University Journal, Munchen, Germany, as well as of the Nsukka Journal of Humanities, Nsukka, Nigeria  He is also an editorial board member and reviewer of the Asian Journal of Social Sciences and Humanities, Hong Kong 
At the present, Orjinta has to his name thirty-five books and close to fifty publications in several international journals 
Passage 10:
Firuz Shah Suri
Firuz Shah Suri (died 1554) was the third ruler of the Suri dynasty  He was the son of Islam Shah Suri and succeeded him in 1554 when he was twelve years old  Firuz Shah Suri was assassinated within days of his coronation by Sher Shah Suri's nephew Muhammad Mubariz Khan, who later ruled as Muhammad Shah Adil 

See also
History of Bengal
History of India
Sur Empire
Passage 11:
Qezel Suri
Qezel Suri (Persian: قزلسوري, also Romanized as Qezel Sūrī) is a village in Avajiq-e Jonubi Rural District, Dashtaki District, Chaldoran County, West Azerbaijan Province, Iran  At the 2006 census, its population was 263, in 57 families 
Passage 12:
Woh Lamhe
Woh Lamhe    (transl  Those Moments   ) is a 2006 Indian Hindi-language romantic drama film directed by Mohit Suri, starring Kangana Ranaut and Shiney Ahuja  The film is supposedly based on Parveen Babi's life, her battle with schizophrenia and her relationship with Mahesh Bhatt to whom she was a lover as well as a mentor in his struggling days 
Bhatt said that it is his tribute to the actress and time he spent with her, hence the name Woh Lamhe    ("Those Moments")  Parveen Babi's character is played by Ranaut who is named Sana Azim in the film to avoid direct reference to the actress  The film was critically acclaimed for its screenplay, direction, and a noteworthy performance of Ranaut  Ranaut’s performance in the film is considered to be one of her best Despite the film getting a lot of praise, it could not recover its budget in the box office and was a massive flop, recovering most of its cost from DVD and satellite television revenue  For her performance in the film, Ranaut won the Filmfare Award for Best Female Debut at the 52nd Filmfare Awards 

Plot
The film begins with a woman in a hotel room  She goes to the bathroom and slits her wrists in an attempt to kill herself  That woman is later revealed to be Sana Azim (Kangana Ranaut), a famous Bollywood actress  When this news reaches film-maker Aditya Pankaj Garewal (Shiney Ahuja), he is devastated  Aditya has been searching for Sana, who was intensely involved with him and who had mysteriously disappeared from his life without any explanation three years ago, only to surface now in what could be the last moments of her life 
As Aditya waits outside of the ICU alongside his friend Sam (Purab Kohli), praying to be reunited with her, he has a flashback of moments spent with her three years ago 
Sana had achieved stardom while Aditya was a struggling film director  He spots Sana at a fashion show where he rebukes her for being ugly inside-out  He insults her to a point where she throws her underwear on him, thus garnering media attention  Nikhil (Shaad Randhawa), her abusive boyfriend, scolds her and rapes her  Sana's mother also scolds her for this act 
Sana agrees at first to work with Aditya for his film but later she declines as she is bound by a contract  However, she breaks free from Nikhil's misery and agrees to work with Aditya 
Aditya starts shooting his film  During the shoot, both become close to each other  During the last day of the shoot, Sana tearfully says that she will miss him and those memories spent during the shoot  Aditya compares those memories to the sand castles on the beach by saying that those sand castles remain in our memories forever even though they are knocked down by the waves  During the film premiere, both fall in love with each other 
One day Sana spots a girl forcefully entering her hotel room  She tells Aditya that a girl named Rani (Masumeh Makhija) entered the room  However through the CCTV footage there was no girl who entered  It later revealed that Sana is a patient with schizophrenia, who has excessive hallucinations of Rani who doesn't even exist, which gradually ruins both Sana's life and career  When Aditya realizes that the only way he can save Sana from total devastation is to take her away from Bollywood and the vested interests that threaten to destroy her completely, he kidnaps her from the hospital, thus putting his career on the line 
Aditya tries his best to bring Sana back on track but in vain  She secretly stops taking her medication  During her birthday party, she faces her hallucinations once again and stabs Aditya 
One day, suddenly, she disappears, leaving him with unanswered questions  Aditya is shocked  Meanwhile, Nikhil and the police reach the place and take Aditya  Nikhil asks him in anger about Sana's whereabouts, to which Aditya repeatedly answers that he doesn't know 
Back in the present, Aditya is told that Sana has very little time and wants to meet him  They both profess their love for each other and she breathes her last  Nikhil asks him what he will do next, to which Aditya replies that he doesn't know 
The film ends with Aditya reminiscing about her on a beach  He spots some children making a sand castle and remembers his metaphor  He goes and makes castles with them 

Cast
Kangana Ranaut as Sana Azim
Shiney Ahuja as Aditya Pankaj Garewal
Shaad Randhawa as Nikhil Rai
Masumeh Makhija as Rani Mukherjee
Purab Kohli as Sam aka Sammy
Candida Fernandes as Saloni Awasthi

Critical reception
Woh Lamhe    received critical acclaim for its direction, screenplay, music and a noteworthy performance of Ranaut 
Subhash K  Jha of Sify stated, ‘‘Woh Lamhe shows love at its painful best’’  Praising Ranaut's performance he wrote, ‘‘Kangana makes the story of the tormented actress cross the borders of brilliancy; Ranaut keeps a tight control over overt articulations of expressions, so that when the outbursts happen they've a whiplash effect on the audience  She is a hugely expressive actress with a phemomenal ability to convey torment, hurt and incredulity through the eyes, Kangana is the first female performer of Bollywood since Smita Patil and Shabana Azmi who isn't scared to strip her soul naked for the camera’’  Taran Adarsh of Bollywood Hungama gave the film a rating of 3 5 (out of 5) and called it a ‘‘cinematic experience’’  He wrote, ‘‘Woh Lamhe is a well-made emotional film that lingers in your memory even after it's over’’  Praising Ranaut's performance he further wrote, ‘‘Kangana gets the role of a lifetime in her second film itself and the actor sinks her teeth into it and delivers an astounding performance  If you've ever interacted with Parveen Babi, even briefly, you'd see a replica of the glamorous star in Kangana’’  Gullu Singh of Rediff awarded the film 3 5 stars (out of 5) and wrote, ‘‘The film works because the protagonist, Sana (Kangana Ranaut) has acted so brilliantly that you feel the presence of Parveen Babi from the 1970s  If there is one reason you need to watch Woh Lamhe, it is Kangana Ranaut  She is a brilliant, outstanding actress’’ Film critic Rajeev Masand in his review wrote, ‘‘Woh Lamhe is impressive in the manner in which it straddles a mainstream sensibility with such rare understanding; Remember to carry a handkerchief, or you’ll embarrass yourself with your tears’’  Praising the performances of the lead actors he further wrote, ‘‘Ranaut is remarkable as she attacks a complex role with all the right moves and Ahuja makes his presence felt in every single scene that he’s in, his performance is delectable to say the least  These actors pump life into their roles and together with Pritam’s soothing score they make Woh Lamhe an experience that’s hard to forget’’  Anupama Chopra of India Today wrote, ‘‘Woh Lamhe holds interest because it has a taut script and fine performances’’  Praising the performances of Ahuja and Ranaut she further wrote, ‘‘Ahuja is superbly restrained, his eyes convey the doom built into this relationship and Ranaut's performance has attitude; she is not afraid to be ugly or emotionally naked  Suri uses both ably to retell a familiar story persuasively’’  In a 2021 interview, film critic Baradwaj Rangan of Film Companion called Ranaut's performance in the film ‘‘excellent’’ and stated, ‘‘In Woh Lamhe, Ranaut takes a piece of her soul and gives it to the audience’’ 
Filmfare listed Woh Lamhe    as one of the ten movies of Ranaut that showcased her class as an actor  They wrote, ‘‘Playing a schizophrenic, Kangana accurately depicted the trauma of the actress as her personal life went down the dumps along with her career’’  The New Indian Express listed the film as one of the ten must-watch films of Ranaut  Koimoi listed Woh Lamhe    as one of the ten film which will lose their charm without Ranaut's presence  CNN-IBN listed Ranaut's performance in Woh Lamhe    as one of her seven best performances and a film which made her the star that she is today 

Awards
Filmfare AwardsFilmfare Award for Best Female Debut – Kangana Ranaut10th Zee Cine AwardsBest Debut – Kangana Ranaut

Soundtrack
The film score was composed by Raju Singh  The songs were composed by multiple composers including Jawad Ahmed, Pritam, Roop Kumar Rathod  Lyrics were penned by Sayeed Quadri  The songs were badly plagiarized by Pritam by copying the tunes ("Kya Mujhe Pyaar Hai" lifted from "Tak Bisakah " by Noah, "Tu Jo Nahin" from a ghazal by Pakistani singer S  B  John); however, later the credits were given to the original artists and some of the tunes were recreated in musical arrangements  Singers like James, KK, Shreya Ghoshal, Jawad Ahmed, Kunal Ganjawala, and Glenn John lent their voices for the album  Planet Bollywood gave a rating of 8/10 to the soundtrack 
Context 3: Passage 1:
Neal Asbury
Neal Asbury (born May 2, 1957) is Chief Executive of The Legacy Companies  An advocate of entrepreneurship and free enterprise,  he hosts the nationally syndicated talk radio show Neal Asbury's Truth for America (now Neal Asbury's Made in America) 

Early life
Neal Asbury attended Jefferson Township High School in Jefferson Township, New Jersey  After graduation he enrolled in Rowan University in New Jersey graduating in 1979 with a Bachelor of Arts degree in music 

Career
After graduating from Rowan University Neal began working in the mail room of a Fifth Avenue as a food service exporter  A year later, Asbury moved on to Manila, working as a director of sales for a large trading company and traveling to capitals in the Far East  Seven years later, he founded Asbury Worldwide  By 1987, the firm had grown to include twelve distribution facilities around the globe   In 1989, he started began FAB Asia, Inc  in Manila, Philippines, an  Asian fabricator of commercial kitchens for McDonald's as well as other American restaurant chains 
After selling his group of companies in July 1999, Asbury established Greenfield World Trade, a global trading company selling and servicing American manufactured products in over 130 countries to both  retail and commercial markets  He acquired J  Cobo (a distribution company with operations throughout Latin America), General (a manufacturer of food preparation equipment), Zeroll (a manufacturer of kitchen gadgets), and Omega (a manufacturer of electrical kitchen appliances) 

Awards and distinctions
Asbury has received the E-Star Export Award and the Export Achievement Award from the U S  Department of Commerce  Asbury's company was recognized as National Champion Exporter of The Year(2008) after they were first recognized in February as Exporter of the Year for Florida, which was preceded by being selected as the Region IV Exporter of the Year, covering the Southeast United States   Greenfield World Trade's Neal Asbury Named SBA's National Champion Exporter of the Year 

Radio show and blog
Each week Asbury hosts a talk radio show, Neal Asbury's Made In America, (formerly Truth For America), produced by Atlantic Radio Network   It is broadcast around the US by Radio America and deals with topics related to America's entrepreneurial spirit and the American Dream Asbury also writes the Conscientious Equity blog, which focuses on his interest for small business, entrepreneurship and the benefits of expanding the U S  role in global commerce  Topics discussed on the blog range from the health care crisis to job creation and international trade  Asbury's blog entries have been syndicated online, appearing on Moneynews com 

Personal life
On December 29 in 1984 Neal married Elizabeth Trixia Gomez Carpio, an actress from the Philippines  They have two daughters 
Passage 2:
Steve Somers
Steve Somers (born April 17, 1947), nicknamed the Schmoozer, is an American talk radio host best known for his work on the New York City sports radio station WFAN (660 AM)  He has been with the station since its inception in 1987 

Personal life
Somers is a native of San Francisco, California, and became a fan of the San Francisco Giants upon the team's arrival to the city in 1958  He graduated from the University of California at Berkeley in 1969  He currently resides in Manhattan  
His nickname is  "The Schmoozer " He roots for the New York Mets (or Metropolitans as he refers to them), the New York Knicks (or Knickerbockers) the New York Rangers and New York Jets (sometimes he even calls them the Jetropolitans) 

Career
Somers began his career in the Bay Area  Before graduating high school, he worked at KYA radio in San Francisco delivering on air high school sports reports   After college, Somers began hosting a news talk show on KNEW radio in Oakland  To that effect, Time Magazine ran a story naming him the youngest talk show host in the country at that period of time  Somers also worked a public address announcer for the NBA's San Francisco Warriors 
In 1970, Somers joined KPIX in San Francisco  as a weekend sports anchor and won a San Francisco Press Club Award  Over the next decade and a half he held other television sportscasting positions at KOVR in Sacramento, WXIA-TV in Atlanta and KNBC in Los Angeles  While in Los Angeles, he also launched a sports talk program at KMPC radio 
Somers joined WFAN at the station's inception in July 1987  He spent his first few years with the station as the overnight host  While he was on the overnight program he dubbed himself "Captain Midnight"  During this time he conducted one of the last ever interviews with Mark Koenig, who was the last living member of the 1927 New York Yankees  He later spent a few years co-hosting the 10am-1pm slot with WWOR-TV sports anchor Russ Salzberg  The program was titled "The Sweater and the Schmoozer " At that time, Somers developed some of the quirks that have been hallmarks of his WFAN tenure, dropping catchphrases such as "schmoooooozing S-P-O-R-T-S" (spelling out the word "sports"), giving time checks in minutes and seconds, uniquely reading the end of the station's phone number as "six-six-six-six" rather than the standard "sixty six-sixty six", joking at the expense of engineer Eddie Scozzare ("THE Eddie Scozzare?" "No, Eddie Maple, who do you think we're talking?"), and reading the catalogue numbers of live commercials ("LV-242, for those of you scoring at home, and I know you are   ") 
He is also known to refer to the New York Mets, by their official name "The New York Metropolitans" drawing out the parts as Metro-Politans, and referring to the Islanders as the Ice-landers 
Currently, Somers usually works during the evening on weekdays  His program can be heard anywhere from 6:30pm to 2am, depending on whether WFAN airs a sporting event that night  He is also sometimes heard on weekends  He is colloquially known as "The Schmoozer " Somers has said of the infrequent scheduling, "Sometimes, just sometimes, I forget what time zone I live in "
In October 2021, Somers stated that WFAN's owner Audacy had requested to move his show back into the overnight hours, a request Somers declined as he was no longer willing to work a graveyard slot  He stated that, because of the request, he was planning on retiring from his regular shift at WFAN "sooner rather than later," with the intention of remaining at WFAN on a reduced schedule as a fill-in host if Audacy allows 

Film
Somers appeared in the 1979 film The Visitor 
Passage 3:
Andy Warhol's Fifteen Minutes
Andy Warhol's Fifteen Minutes is an American talk show hosted by artist Andy Warhol, that aired on MTV from 1985 to 1987  One of the network's earliest series, it featured interviews with up-and-coming musicians such as Courtney Love  Other such talk show guests include Debbie Harry and Chris Stein of Blondie, Nick Rhodes of Duran Duran, Ric Ocasek of the Cars, the Ramones, Grace Jones, Yoko Ono, Judd Nelson, Kevin Dillon, John C  McGinley, and William S  Burroughs 

See also
15 minutes of fame
Passage 4:
Treat Her Like a Lady (Diana King song)
"Treat Her Like a Lady" is a song by Jamaican-American singer Diana King from the 1995 album, Tougher Than Love  It was written by King, Andy Marvel and Billy Mann, and produced by Marvel  In 1997, it was covered by Canadian singer Celine Dion for her album, Let's Talk About Love 

Celine Dion version
Canadian singer Celine Dion recorded a cover version of "Treat Her Like a Lady" for her 1997 album, Let's Talk About Love  It was produced by Ric Wake  Dion changed some lyrics, gaining a co-writing credit  Diana King and Brownstone recorded guest vocals for the track  "Treat Her Like a Lady" was released as the final single in Europe between March and June 1999, to coincide with the Let's Talk About Love World Tour  It peaked inside top 40 in the United Kingdom, Scotland, Ireland, Austria and Iceland 

Critical reception
Entertainment Weekly editor David Browne called Dion's cover an "overarranged stab at reggae dancehall" and "unintentionally amusing"  The New York Observer editor Jonathan Bernstein wrote, "She's fallen on her face before when attempting to be as one with the rhythm, but Celine Dion has never humiliated herself as comprehensively as she does when mashing it up in a dance-hall style on "Treat Her Like a Lady"  As Seinfeld' s George Costanza remarked in a similar situation, "Sweet fancy Moses!"" Steven Wells from NME commented, "Celine raps hardcore radical feminism! Yes she does! She says that we've got to treat women like "ladies"  Otherwise they might go "crazy"  This is possibly the most profound statement on the subject of women's oppression since Germaine Greer's The Female Eunuch" 

Commercial performance
After the success of "My Heart Will Go On", radio stations in Quebec started playing "Treat Her Like a Lady" in May 1998  Because of that, it entered the airplay chart on 30 May 1998 and peaked at number nine  The commercial single was released in selected European countries between March and June 1999, to coincide with the Let's Talk About Love World Tour  It was issued almost a year after the previous single from Let's Talk About Love, "Immortality" 
In April 1999, "Treat Her Like a Lady" entered the charts in Austria and Germany, peaking at numbers 16 and 64, respectively  In May 1999, it debuted on the charts in the Netherlands and Belgium, reaching numbers 62 in the Netherlands, 70 in Wallonia and 78 in Flanders  In July 1999, "Treat Her Like a Lady" entered the charts in few other countries, peaking at numbers 29 in the United Kingdom, 33 in Scotland, 40 in Ireland, 54 in Sweden, and as a result number 91 on the European Hot 100 Singles  The song also reached numbers 13 in Iceland and 38 on the airplay chart in Spain 

Music video
The live music video was recorded on 18 December 1998, during the Let's Talk About Love World Tour in Montreal, Canada  It was directed by Gérard Pullicino  The video was included on the UK enhanced CD single in June 1999  In November 2022, it was uploaded into Dion's official YouTube channel 

Track listing and formats
Charts
Release history
Passage 5:
Roamin' Holiday
Roamin' Holiday is a 1937 Our Gang short comedy film directed by Gordon Douglas  It was the 155th Our Gang short released (156th episode, 67th talking short, and 68th talking episode) 

Plot
Upset at being forced to do the household chores all weekend long (and the threat of taking dancing lessons), Spanky, Alfalfa, Buckwheat, and Porky decide to run away from home  Taking a breather in the tiny village of Jenksville, the boys manage to cadge a meal from kindly storekeeper Mrs  Jenks  But when she finds out that the kids are runaways, she passes this information along to her husband, Constable Hi Jenks, who jovially decides to teach the boys a lesson  Pretending to arrest the four youngsters, Constable Jenks dresses them in convict stripes and forces them to work on the rock pile, figuring that after an hour or so they will be glad to return home  But an unanticipated swarm of bees brings this little morality play to a sudden and painful conclusion for the four roamin' rascals 

Cast
The Gang
Eugene Lee as Porky
George McFarland as Spanky
Carl Switzer as Alfalfa
Billie Thomas as Buckwheat
Darla Hood as Darla
Pete the Pup as himself

Additional cast
Joe White as One of Alfalfa's twin brothers
Tom White as One of Alfalfa's twin brothers
Otis Harlan as Hiram Jenks
May Wallace as 'Ma' Jenks

See also
Our Gang filmography
Passage 6:
Bangkok Love Story
Bangkok Love Story (Thai: เพื่อน   กูรักมึงว่ะ; RTGS: Phuean   Ku Rak Mueng Wa; literally "Friend     I love you") is a 2007 Thai film written and directed by Poj Arnon  A gay romantic crime action drama, it is the story of a man who falls in love with a gunman assigned to kill him 

Plot
A loner gunman named Maek is assigned to kidnap a police informant named Iht, but Maek has a change of heart when he takes Iht to the 'hit house'  Maek is ordered to kill Iht, but because he only kills scum and has discovered that Iht isn't bad, he refuses, turning the gun on the enforcers who had hired him to murder Iht  A gun battle ensues during which Maek is wounded, but Iht grabs Maek's gun and shoots their way out of the mobsters' headquarters  The two men then escape on Maek's motorcycle  Maek tells Iht to leave at gun point but he won't and takes Maek back to his rooftop hide-out  There, over a period of time, Iht tends to Maek's wound and finds himself attracted to him 
In fact, Maek is also attracted to Iht, but keeps it hidden, while Iht cares for his former would-be killer with great tenderness 
While giving Maek a bath one day, Iht kisses him on the mouth   Maek reciprocates and the two men engage in a passionate sexual experience  The next day, however, a conflicted Maek demands that Iht go away and leave him alone  Iht returns home to his fiancée, Sai, but is no longer interested in continuing a relationship with her  Iht spends his days pining over Maek, and tracks down Maek's brother, Mhok, and their mother  Mhok is HIV positive, as the result of sexual abuse by his and Maek's stepfather, and their mother is dying of AIDS 
Maek remains elusive, hiding from Iht when he visits the hideout, but leaving signs that he's there so Iht will return 
Though Maek avoids making contact with Iht, eventually he goes to visit his mother and brother, and Iht corners him at the entrance to the building, declaring his love for Maek and stressing how much he misses him   They kiss passionately  They are unfortunately covertly observed by Sai, Iht's live-in fiancée 
Maek's dream is to take his mother and brother away from Bangkok to the mountains of Mae Hong Son Province  But after Maek's mother overhears that Mhok has prostituted himself to survive after contracting AIDS from his stepfather, she commits suicide by hanging herself  The brothers take her down, and as they are rushing her from the apartment, she is killed by a gunshot fired by an unseen sniper  The bullet is presumably intended for Maek 
Maek's former mobster employers are gunning for him and Iht  Maek decides to hunt them down first, and he succeeds in killing them  After Mohk informs Iht what Maek is doing, Iht goes to the capo's house to try to stop Maek, but he is too late and misses Maek by a second  Iht is injured when the capo's wife shoots at a clock that shatters in Iht's face 
Maek, meanwhile meets his brother at the railway station to leave Bangkok for good  But before he can board the train, he is apprehended by the police and taken away  Mhok breaks down  He's the sole witness to his brother being apprehended 
Years pass by  Iht visits Maek in prison and reveals that he was left blind in the final gunbattle with Maek's ex-boss  Mhok commits suicide while at a Hospice of Watphrabahtnamphu in Lopburi because he no longer has the energy to fight his disease  Eventually, Maek is released from prison, and Iht meets him  But before the two men can leave to start their life together, Maek is shot dead by a single bullet fired by an unseen assassin  A bewildered, blind Iht collapses over his lover's corpse, swearing his love for him again and again 
Iht eventually regains his sight, and is finally able to view on his mobile phone a video recorded by Maek himself many years before, admitting that all along, he had loved Iht and that he would love him to his last breath 

Cast
Rattanaballang Tohssawat as Maek (Cloud)
Chaiwat Thongsaeng as Iht (Stone)
Weeradit Srimalai as Mhok (Fog)
Chatcha Rujinanon as Sai (Sand)
Suchao Pongwilai
Chonprakhan Janthareuang
Uthumporn Silaphan
Rachanu Boonchuduang

Production
When Bangkok Love Story was in pre-production in 2006, the Royal Thai Police raised objections to the script, which originally depicted a policeman (Iht) falling in love with the assassin Maek  The character Iht's exact connection to the police department was then made ambiguous so that the film would be passed by the Board of Censors, which includes members of the Royal Thai Police Both lead actors, Chaiwat Thongsang (Iht) and Ratanabanrang Tosawat (Maek), are heterosexual, according to a profile of the two actors in BK Magazine  Chaiwat said he took the role because he wanted the "challenge" and to "become famous"  Ratanabanrang simply stated playing a gay man "is an honor" Chaiwat said he had hoped camera angles could be used so he could avoid having to kiss his co-star, but director Poj Arnon insisted the kisses must be real  "It was totally disgusting at first, but we kind of got used to it after a while", Chaiwat said  Ratanabanrang said he had to imagine he was kissing his girlfriend  "Actually, we acted so well, that my girlfriend got paranoid" Both actors acknowledged that the film would be compared to Brokeback Mountain, but Ratanabanrang noted that Poj Arnon had the idea for Bangkok Love Story long before Brokeback had been adapted into a film 

Release and reception
Bangkok Love Story was released in Thailand cinemas on August 13, 2007  The film proved popular, with the Bangkok Post stating it was "the movie everybody has been talking about"  The film earned US$325,000 in its Thailand theatrical run Critical reception was mixed  The weekly BK Magazine stated that the film suffered from being overly melodramatic, but praised the cinematography by Tiwa Moeithaisong, which "turns Bangkok into a character in its own right "Reviews from the Bangkok English-language daily The Nation were characterised as "dismissive" 
LGBT-related website Fridae praised Bangkok Love Story as "the boldest Thai gay movie to date " It additionally praised the film for being a departure from the Thai LGBT genre, which generally features coarsely stereotyped kathoey transvestite caricatures Gay Thai independent film producer Vitaya Saeng-aroon similarly praised the film, saying director Poj Arnon was "brave enough to shake society up" Bangkok Love Story was screened at the 34th Brussels International Independent Film Festival, where it won the top prize, the Grand Award in all Categories  It was also the Opening Night selection for the 2007 Hong Kong Lesbian and Gay Film Festival, and played at the 2008 London Lesbian and Gay Film Festival 
TLA Releasing acquired theatrical, home video, television and video on demand rights for North America and the United Kingdom  The company plans to release the film in those territories in summer 2008 

Soundtrack
The film also produced a popular theme song "Yahk-Roo   Tae-Mai-Yahk-Taam" (in Thai: "อยากรู้   แต่ไม่อยากถาม meaning "I want to know, but I don't want to ask") by Calories Blah Blah (in Thai: แคลอรี่ส์ บลาห์ บลาห์) 
Passage 7:
Glove Taps
Glove Taps is a 1937 Our Gang short comedy film directed by Gordon Douglas  It was the 151st Our Gang short (152nd episode, 63rd talking short, and 64th talking episode) that was released 

Plot
Butch explains that he clobbers every kid in school to prove that he is in charge  By a fluke, weak-kneed Alfalfa is chosen to face Butch in the barnyard boxing ring—and he has only one day to train for the big bout 
Spanky volunteers to be Alfalfa's trainer, which consists mostly of Alfalfa pulling him around in a little red wagon 
Porky and Buckwheat have had "this will not end well" expressions on their faces the whole time  They take matters into their own hands once the bout starts; knocking Butch out from behind a curtain and allowing Alfalfa to take the credit 

Notes
After appearing as a peripheral player in several earlier Our Gang shorts, Tommy Bond made a spectacular return to the series in Glove Taps  Here and in all future appearances, Bond is cast as neighborhood bully Butch, the bane of the existence of Spanky McFarland, Carl "Alfalfa" Switzer and the rest of the Gang 
Another Our Ganger debuts as Glove Taps Marks the first appearance of Darwood Kaye 
The background music in this one-reel comedy came from Marvin Hatley's Oscar-nominated score for the Laurel and Hardy feature Way Out West 

Cast
The Gang
Eugene Lee as Porky
George McFarland as Spanky
Carl Switzer as Alfalfa
Billie Thomas as Buckwheat

Additional cast
Tommy Bond as Butch
Sidney Kibrick as Woim
Darla Hood as Darla
Darwood Kaye as Waldo

Extra kids
Hugh Chapman, John Collum, Rex Downing, Larry Harris, Joe Levine, Jackie Lindquist, Donald Proffitt, Hugh Sheridan, Harold Switzer, Jerry Tucker, Bobs Watson, Robert Winkler

See also
Our Gang filmography
Passage 8:
Full House (season 2)
The second season of the family sitcom Full House originally aired on ABC between October 14, 1988 and May 5, 1989  From this season onward, Mary-Kate and Ashley Olsen are credited in the opening credits 

Plot
In season two, Danny is fired from his job as a sportscaster and instead is promoted to a higher position as the host of a morning talk show titled Wake Up San Francisco, earning him a co-host named Rebecca Donaldson (Lori Loughlin) and Jesse's potential love interest  Meanwhile, Jesse and Joey become best friends (much to Danny's jealousy) and start doing advertising jingles together  D  J  begins sixth grade and Stephanie enters first grade 

Main cast
John Stamos as Jesse Katsopolis
Bob Saget as Danny Tanner
Dave Coulier as Joey Gladstone
Candace Cameron as D



ground_truth: Clifton College

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 former name of the country where Atika Suri studied?

The following are given passages.
Context 3:  J  Tanner
Jodie Sweetin as Stephanie Tanner
Mary-Kate and Ashley Olsen as Michelle Tanner

Episodes
See also
List of Full House episodes
Passage 9:
What We Talk About When We Talk About Love
What We Talk About When We Talk About Love is a 1981 collection of short stories by American writer Raymond Carver, as well as the title of one of the stories in the collection  Considered by many one of American literature's most ambitious short-story collections, it was this collection that turned Raymond Carver into a household name in the publishing industry 

Content
"Why Don't You Dance?"
In 1977, Carver submitted a story with this title to Esquire, which Gordon Lish subsequently edited and retitled "I Am Going to Sit Down", but no version ever appeared in Esquire  The story was first published in Quarterly West in Autumn 1978 and later in The Paris Review in Spring 1981  The Quarterly West version incorporated many of Lish's suggested changes, while the final version was 9% shorter  It tells the story of a drinking man overseeing his yard sale  The reader gets the feeling that he may be selling all his possessions, looking to start life anew  A young couple stops by to select furniture for their new apartment  They haggle a little over prices and buy a TV and a bed  The drinking man tells the young woman to put a record on  When the music begins the man asks the couple to dance  Uncomfortably, they comply  Then the drinking man dances with the girl, and she says to him: "You must be desperate or something " Several weeks later, the woman is telling her friends about the man at his yard sale  She mocks the record player and records he gave them, saying: "Will you look at this shit?" The story ends with her trying to make sense of the man's situation before quitting her wondering altogether 
The story was adapted in the 2010 film Everything Must Go starring Will Ferrell and written and directed by Dan Rush 

"Viewfinder"
A hook-handed man takes a photograph of the narrator's house from the street, then sells it to him  The narrator asks the photographer in for coffee  The manuscript version of the same title appears in Beginners (2009) 

"Mr  Coffee and Mr  Fixit"
A man reflects "about three years back" on his struggle to come to grips with a couple of troublesome relationships  He was surprised to see his elderly single mother kissing a man on the sofa upstairs  He says his kids were crazy and so was his wife, Myrna, who eventually fell for another man named Ross whom she met at Alcoholics Anonymous  He remembers how his father died and suggests to Myrna that they "hug awhile" and have a "real nice supper," and she responds somewhat lukewarmly  The manuscript version titled "Where Is Everyone?" appears in Beginners (2009) 

"Gazebo"
Set in a roomy upstairs suite, motel managers Holly & Duane discuss the disintegration of their marriage  Duane has been having an affair with a cleaning lady, Juanita  Duane tries to convince Holly that their love can be rekindled and reconciled but Holly does not agree  Duane is left hopelessly bemoaning the future he had envisioned with Holly  The manuscript version of the same title appears in Beginners (2009) 

"I Could See the Smallest Things"
Nancy wakes up in the middle of the night because of a noise outside  She realizes it's the open gate, and hesitantly she goes to the kitchen to smoke for a while before going out to investigate, leaving her alcoholic husband Cliff "passed out" and snoring loudly in bed  At the fence, Nancy meets her neighbor Sam, a widower, who is spreading insecticide to kill slugs which are ruining his garden  Nancy & Sam talk and it becomes clear Sam and Cliff, once good friends, have had a falling-out  Lonely and wishing to patch up their relationship, Sam asks Nancy to tell Cliff he said hello  Nancy says she will and goes back to bed, realizing she forgot to latch the gate shut  The manuscript version titled "Want to See Something?" appears in Beginners (2009) 

"Sacks"
Les, a textbook salesman, reflects back a year ago on an incident where he met up with his father in a Sacramento airport  It's been two years since his father's divorce from his mother  While the wife was away, the father had been having an extramarital affair with a Stanley Products saleswoman  The father asks Les if everything is okay, and Les lies, saying everything is fine  A fissure seems to grow between the father and son during the uncomfortable, transient, confusing meeting  Fairly sure that his father will play a negligent to nonexistent role in his future, Les boards his flight  The manuscript version titled "The Fling" appears in Beginners (2009) 

"The Bath"
On his birthday, young Scotty is walking to school when he is hit by a car and knocked unconscious  "The Bath" is a predecessor of "A Small, Good Thing," one of Carver's most famous stories, which was published in Cathedral  It is much shorter than "A Small, Good Thing" and ends on an ambiguous note as Scotty's mother goes home from the hospital to take a bath, which is where this version of the story gets its name 

"Tell the Women We're Going"
Two close childhood friends, identified by the author as Bill Jamison & Jerry Roberts, are out of school and have married  After Jerry married, Bill sensed a change in his friend, something that he'd never once shown  One afternoon, the two men leave both their wives and Jerry's kids to go out for a drive, for old-time's sake  They play pool and drink beer at the Rec Center, while reminiscing about the olden days  On their way out, they see two women biking down the road  Jerry proposes turning back and chatting them up, juvenile and excited  They pull up to the women and Bill introduces himself and Jerry, but the girls, named Barbara and Shannon, seem completely uninterested  They drive ahead and wait for the women to pass  The women, when they arrive, drop their bikes and cut down a path away from the men, which doesn't really bother Bill but does angers Jerry, who devises a plan to cut them off  The story ends in a surprise twist, with Jerry bashing Shannon and Barbara over their heads with a rock, ostensibly killing them both and proving Jerry's deep unhappiness with life  The manuscript version of the same title appears in Beginners (2009) 

"After the Denim"
James and Edith Packer, an elderly couple, go out for the night to play bingo at the local community center  While there, James is perturbed by a young hippy-like couple dressed in denim who go on to ruin his fun and evening: they take the Packers' parking spot; James sees the young man cheating and confronts him but the man denies the allegation  Later, when the young girl gets bingo, everybody but James claps  James is certain the couple will use the victory money on drugs  That night as the Packers are getting ready for bed, Edith reveals to James that she's been "bleeding" and "spotting," and she'll require medical attention  Restless and upset over his wife's sickness, James wonders why it isn't the young couple who has all the problems  The manuscript version titled "If It Please You" appears in Beginners (2009) 

"So Much Water So Close to Home"
As she was having breakfast, Claire, is shocked to learn that her husband, Stuart, and his three buddies, found the body of a girl washed up on the rivershore upon arriving in the afternoon for their yearly camping trip, as reported by the morning newspaper that day  Instead of reporting the body to the police immediately, the four rather enjoy their vacation, spending some time fishing, getting to eating, and drinking whisky as they sit by the fire, all the while the body of the dead girl lays there  As the quartet packs up the next morning, Stuart uses a payphone to alert the police about the corpse found by the riverbed  Claire feels deeply distanced from her husband, who she thought she knew, and cannot stop wondering about the dead girl, to whom she feels oddly connected  Inevitably, she starts believing Stuart and his friends could be behind the girl's murder  Claire wonders why they didn't go fishing locally, why didn't they report the body quickly, as she'd have  Later, after the body is identified and Stuart is at work, Claire reads the funeral plans in the newspaper and decides to attend  On her way to the funeral, a man in a pickup truck pulls her over and asks to talk to her, wants to make sure she's safe  Claustrophobic and frightened, Claire clicks her car locks shut and says she's fine  After the funeral Claire overhears a woman saying they caught the killer, but Claire is not so certain they have the right man  The story ends with Stuart making a sexual advance on Claire in the kitchen  As he reaches for her breasts, she hears water running in the sink and is reminded of the girl floating in the river  The manuscript version of the same title appears in Beginners (2009) 

"The Third Thing That Killed My Father Off"
The character of Jack Fraser, in classical Carver style, tells the story of a local outsider named Dummy who worked in the same sawmill as Jack's father Del  Del gets Dummy to fill a pond on his land with bass, but Dummy eventually builds an electric fence around it so people stop coming by  Dummy drifts further into isolation and his wife starts going around with another man, much to his discontent  The story ends with Dummy murdering his wife and committing suicide by drowning in his beloved pond  Del impresses upon Jack what a wrong woman can turn a man into  Later, Jack understands Dummy's plight more clearly  The manuscript version titled "Dummy" appears in Beginners (2009) 

"A Serious Talk"
Burt finds himself incapable of leaving his wife Vera alone  On Boxing Day, Burt comes back to his wife's house to try and explain away his poor behavior from the night before  On Christmas Day, Burt put too many logs in the fire which could've burned the place down, reckless as he always was  On his way out to make room for Vera's boyfriend Charlie, Burt finds it appropriate to steal six pies from the kitchen counter left unattended  On the 26th, Vera does not want to talk to Burt; she doesn't have the time, it's obvious she has plans already  Burt tries again and again to apologize but Vera does not think it's sincere  Burt notices cigarette butts that are not Vera's regular brand collected in the ashtray, "their ashtray," and feels out of place  While Vera is the bathroom the phone rings and she shouts at Burt to answer it  It's a call for Charlie and Burt responds curtly, saying he's "not here" before leaving the phone off the hook  Vera comes back into the kitchen, and it's clear she cannot tolerate Burt sticking around  The phone rings again and Vera says she'll answer it from the bedroom  Instead of hanging up when Vera commands, Burt takes a knife from the cabinet and cuts the cord in two  Vera realizes what's happened and yells for Burt to leave, saying she'll get a restraining order  Burt leaves calmly and, as he drives away in his car holding their ashtray, he is deludedly convinced that in a few weeks they'll have a "serious talk" and get back together  The manuscript version titled "Pie" appears in Beginners (2009) 

"The Calm"
A man sitting in a barber's chair getting a haircut listens as three men waiting their turn argue about a hunting story one of the men is telling  The manuscript version of the same title appears in Beginners (2004) 

"Little Things" (aka “Popular Mechanics”)
The protagonist is seen first packing a suitcase, all the while a woman swears at him and yells loudly, glad that he's finally leaving her  Their baby won't stop crying  The protagonist decides he wants to bring the baby with him but the woman won't let him even get near their baby  The two get into a tussle and a tug-of-war over the baby  The story ends with the man and the woman pulling tremendously on the baby, with somewhat ambiguously grim and dark possibilities  Titled "Little Things" in Where I'm Calling From (1988); the manuscript version titled "Mine" appears in Beginners (2009) 

"Everything Stuck to Him"
A father tells his young adult daughter what life was like for their family when she was a young child, all while on vacation in Milan  The manuscript version titled "Distance" appears in Beginners (2009) 

"One More Thing"
At the kitchen table, L D  argues with his daughter Rae, age 15, about her beliefs  Maxine, the wife, comes home and notices L D  is drunk  Maxine sides with Rae, saying she can like what she likes  In a moment of fury, L D  throws a pickle jar through the window, shattering the glass  Maxine gives L D  an ultimatum: he must pack his things and go or she'll call the police  L D  starts packing, stuffing not only his belongings into his suitcase but also vindictively taking womanly toiletries he could make no use of  Taking one last look around, about to leave for good, L D  says he has one more thing to tell his wife and daughter but, suddenly inarticulate, he is unable to put what he feels into words  The manuscript version of the same title appears in Beginners (2009) 

"What We Talk About When We Talk About Love"
Mel McGinnis is a 45-year-old cardiologist married to Teresa, also known as Terri  They live together in Albuquerque  The narrator, Nick, describes Mel as tall and rangy with curly soft hair and Teresa (who is Mel's second wife) as bone-thin with a pretty face, dark eyes, and brown hair  Nick is 38 years old, and married to Laura, 35, who works as a legal secretary  The four sit around a table at Mel and Terri's, drinking gin in the afternoon 
They soon start to talk about love  Terri has had an abusive relationship; the abuse, she says, derives from love  Ed, Terri's former abusive boyfriend, "loved her so much he tried to kill her " Ed would beat Terri; he dragged her around the living room by her ankles knocking her into things along the way  Terri believes that Ed loved her and his abuse was his way of showing it  No matter what Terri says, Mel refuses to believe that was "love"  Ed also stalked Mel and Terri and called Mel at work with threatening messages  At one point, Mel was so scared he bought a gun and made out a will  Mel even wrote to his brother in California, saying that "if something happened to him" to look for Ed 
Terri's abusive boyfriend eventually committed suicide after two attempts (as Terri sees it, another act of love)  Ed's first attempt at suicide was when Terri had left him  Ed had drunk rat poison, but was rushed to the hospital where he was saved  In Ed's second, successful attempt he shot himself in the mouth  Terri and Mel argued about whether she could be in the hospital bedroom with him when he died  Terri won and was with Ed as he died; as Terri puts it, "He never came up out of it "
Soon afterward, Mel begins a story about an elderly couple struck by a drunk driver, a teenager who was pronounced dead at the scene  Mel was called into the hospital and saw how badly the elderly couple had been injured  He says that they had "multiple fractures, internal injuries, hemorrhaging, contusions, and lacerations " The couple were in casts and bandages from head to toe  Mel's point in telling the story is the husband's consternation when the couple was moved into the intensive care unit  Mel would visit the couple daily, and when he put his ear to the husband's mouth-hole, the latter told Mel he was upset because he could not see his wife through his eye-holes 
Mel strays from the topic with more talk about Ed, his personal thoughts about love, hatred toward his ex-wife, and life as a knight  Mel feels even though one loves a person, if something were to happen to them, the survivor would grieve but love again 
After finishing the second bottle of gin, the couples discuss going to dinner, but no one makes any moves to proceed with their plans 

Earlier version
Carver's original draft of the story "Beginners" was heavily edited by Gordon Lish, who cut out nearly half of Carver's story, adding in details of his own  Carver's original draft, released by his widow Tess Gallagher and published in a December 2007 issue of the New Yorker, reveals the extensive edits  For instance, the character Mel was originally named Herb, and the abusive boyfriend, renamed Ed by Lish, was originally named Carl  Additionally, Herb's story about the old couple was cut nearly in half, with Lish removing the story of the old couple's home life, love, and reunion in the hospital   In Carver's original version, the two had separate rooms, which caused them to pine for each other and eventually led to a scene when they met again   Lish removed all of this, rewrote the couple into the same room, but in body casts that prevented them from seeing each other, and then explained the old man's distress thus:

     "I mean, the accident was one thing, but it wasn't everything  I'd get up to his mouth-hole, you know, and he'd say no, it wasn't the accident exactly but it was because he couldn't see her through the eye-holes  He said that that was making him feel so bad  Can you imagine? I'm telling you, the man's heart was breaking because he couldn't turn his goddamn head and 'see' his goddamn wife "
      Mel looked around the table and shook his head at what he was going to say 
      "I mean, it was killing the old fart just because he couldn't 'look' at the fucking woman "

Lish also cut out eight paragraphs at the end, in which Terri communicates her worry over Herb's depression to Laura and Nick, and another aspect of love is shown as Laura comforts Terri, tying together all the types of love discussed in the story 

Editing
There was some contention between Raymond Carver and his editor Gordon Lish over several stories in the collection; the author complained about the "surgical amputation and transplant that might make them someway fit into the carton so the lid will close " Eventually, the book was published with Lish's extensive alterations, and received critical acclaim 
Shortly before his death, Carver arranged the publication of his own selection of 37 of his stories, Where I'm Calling From: Selected Tales   He included some stories as edited by Lish, some restored  from his original manuscripts, and some unpublished stories  
Carver's widow, Tess Gallagher, fought with Knopf for permission to republish the 17 stories in What We Talk About When We Talk About Love as they were originally written by Carver  These original versions eventually appeared in Beginners, published by Jonathan Cape in 2009, and in the Library of America volume Collected Stories 

In popular culture
The stories "So Much Water So Close to Home" and "Tell the Women We're Going" were adapted for Robert Altman's 1993 feature film Short Cuts  The former was the inspiration for the Paul Kelly song "Everything's Turning to White" on the album So Much Water So Close to Home and was also later adapted for the 2006 film Jindabyne 
The story "Why Don't You Dance?" serves as the basis for the award-winning 2004 short film Everything Goes as well as for the 2010 feature film Everything Must Go 
The 2012 film Stuck in Love uses the quote, "I could hear my heart beating  I could hear everyone's heart  I could hear the human noise we sat there making, not one of us moving, not even when the room went dark" from "What We Talk About When We Talk About Love" as the main character's, author Bill Borgens's, favorite quote  They are the last words spoken in the film 
Alejandro González Iñárritu's 2014 film Birdman or: The Unexpected Virtue of Ignorance depicts an eclipsed Hollywood star, Riggan Thomson, who mounts a Broadway production of "What We Talk About When We Talk About Love" as its central storyline  The Broadway production includes several aspects of the Carver story—such as the four friends telling stories over a bottle of gin, and Mel's story about the couple in the car crash—but also includes other, more melodramatic storylines that are not part of the Carver story  Thomson attributes his choice of acting as a profession to a complimentary note he once received from Carver written on a cocktail napkin 
Passage 10:
Love Is on the Way
Love Is On the Way may refer to:

Love Is On the Way (album), a 1998 compilation album by American R&B/soul singer Luther Vandross
"Love Is On the Way" (song), a 1992 song by American rock band Saigon Kick
"Love Is On the Way", a song by Billy Porter, released on The First Wives Club soundtrack, later covered by Celine Dion
"Love Is On the Way", a song by R  Kelly from the 1995 album R  Kelly
"Love is On the Way", a song by Natalie Cole from the 1985 album Dangerous
"Love is On the Way", a song by Dave Koz from the 1999 album The Dance
"Love is On the Way", a 2004 single by Little Louie Vega and Blaze
"Love Is On the Way", a song by Austins Bridge from the 2010 album Times Like These
"Love Is On The Way", a song by Viktor Lazlo from the 1996 album Back to Front

See also
"Good Love is On the Way", a song by the John Mayer Trio from the 2005 album Try!
"My Love Is On the Way", a song from the 1954 musical The Golden Apple
Passage 11:
WMMW
WBOM (1470 AM) is a commercial radio station licensed to Meriden, Connecticut, and covering Central Connecticut  The station broadcasts an R&B format, aimed at the Hartford area  The station is owned by Full Power Radio, through Red Wolf Broadcasting Corporation  WBOM's programming is also heard on FM translator W273DS (102 5); the station's branding emphasizes the FM frequency 

History
The station's original construction permit was granted by the Federal Communications Commission on January 2, 1947; it was initially assigned the call sign WMMB, but changed to WMMW on March 4



ground_truth: Dutch East Indies

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

Question: What city was the author of What We Talk About When We Talk About love born in?

The following are given passages.
Context 3:  It began broadcasting June 8, 1947, on 1470 kHz with 1,000 watts of power  The station was licensed to Silver City Crystal Company  An FM sister station, WMMW-FM (95 7), would be added by that December On March 5, 2014, Buckley Broadcasting announced that it would sell its Connecticut radio stations, including WMMW, to Connoisseur Media  The sale was completed on July 7, 2014, at a price of $7,922,035  Connoisseur sold WMMW, along with the other Talk of Connecticut stations (except for WWCO in Waterbury), WDRC-FM in Hartford, and W272DO in New Haven, to Red Wolf Broadcasting for $8 million in January 2018; the sale was completed on March 29, 2018 The call sign was changed to WBOM on April 28, 2020  The station went silent in March 2022, and returned as "The New 102 5" on March 11, 2022 
Passage 12:
Morals for Women
Morals for Women (known in the UK as Farewell Party and in re-release as Big City Interlude) is a 1931 American pre-Code film produced and released by Tiffany Pictures, often considered a low budget studio  The film stars Bessie Love and Conway Tearle  It is preserved at the Library of Congress, has been released on DVD, and is in the public domain 
This film is a follow-up to Tiffany's 1925 silent Morals for Men, which also starred Conway Tearle and is also preserved at the Library of Congress 

Plot
Stenographer and gold digger Helen Huston (Love) has a personal relationship with her employer Van Dyne (Tearle), who has set her up in an apartment on Park Avenue  Her childhood beau visits New York and proposes to her, which prompts her to return to her hometown and seek advice from her family  News of her living situation is the talk of her hometown  In defending Helen's honor, her younger brother injures the town bully and must pay his large hospital bill  Helen returns to her New York boss to get the money  Her hometown sweetheart interrupts one of her parties to see her, and even upon learning about Helen's relationship with her boss, he wants to marry her 

Cast
Reception
The film received lukewarm reviews, and the morality of the story was questioned 
Passage 13:
The Pigskin Palooka
The Pigskin Palooka is a 1937 Our Gang short comedy film directed by Gordon Douglas   It was the 159th Our Gang short (160th episode, 70th talking short, and 71st talking episode) that was released 

Plot
Having written of his football heroics in military school, Alfalfa returns home to a hero's welcome  But the fact is that Alfalfa never played a game in his life and borrowed Rex's, a classmate and football player's uniform to take a picture, angering him as well  No sooner has he stepped off the train than his old pal Spanky, manager of the gang's football team, informs Alfalfa that he's been slated to be star player in an upcoming gridiron battle—which is to be staged within the next few hours  Alfalfa winds up winning the game in a total fluke, which Buckwheat and Porky helped cause 

Cast
The Gang
Carl Switzer as Alfalfa
Darla Hood as Darla
Eugene Lee as Porky
George McFarland as Spanky
Billie Thomas as Buckwheat
Pete The Pup as himself

Additional cast
Rex Downing as Cadet (photographer)
Gary Jasgur as Junior (timekeeper)
Cullen Johnson as Scorekeeper
Dickie Jones as Spike
Sidney Kibrick as Spike's sidekick
Delmar Watson as Captain of the military academy's football team

Members of Spanky's team
Daniel Boone, John Collum, Charles Flickinger, Larry Harris, Paul Hilton, Darwood Kaye, Tommy McFarland, Donald Proffitt, Drew Roddy, Harold Switzer

Members of Spike's team
Hugh Chapman, Dix Davis, Barry Downing, Roger McGee, Fred Walburn, Robert Winkler

Game spectators and band players
Barry Downing, Bobby Callahan, Dix Davis, Floyd Fisher, Vincent Graeff, Payne B  Johnson, Henry Lee, Joe Levine, Priscilla Lyon, Drew Roddy, Norman Salling, Joe Straunch, Jr , Fred Walburn, Robert Winckler

See also
Our Gang filmography
Passage 14:
Raymond Carver
Raymond Clevie Carver Jr  (May 25, 1938 – August 2, 1988) was an American short story writer and poet  He contributed to the revitalization of the American short story during the 1980s 

Early life
Carver was born in Clatskanie, Oregon, a mill town on the Columbia River, and grew up in Yakima, Washington, the son of Ella Beatrice Carter (née Casey) and Clevie Raymond Carver  His father, a sawmill worker from Arkansas, was a fisherman and a heavy drinker  Carver's mother worked on and off as a waitress and a retail clerk  His brother, James Franklin Carver, was born in 1943 
Carver was educated at local schools in Yakima  In his spare time, he read mostly novels by Mickey Spillane or publications such as Sports Afield and Outdoor Life, and hunted and fished with friends and family 
After graduating from Yakima High School in 1956, Carver worked with his father at a sawmill in California  In June 1957, at age 19, he married 16-year-old Maryann Burk, who had just graduated from a private Episcopal school for girls  Their daughter, Christine La Rae, was born in December 1957  Their second child, a boy named Vance Lindsay, was born a year later  Carver worked as a delivery man, janitor, library assistant, and sawmill laborer, while Maryann worked as an administrative assistant, high school English teacher, salesperson, and waitress 

Writing career
Carver moved to Paradise, California, with his family in 1958 to be close to his mother-in-law  He became interested in writing while attending Chico State College and enrolled in a creative writing course taught by the novelist John Gardner, then a recent doctoral graduate of the Iowa Writers' Workshop, who became a mentor and had a major influence on Carver's life and career  In 1961, Carver's first published story, "The Furious Seasons", appeared  More florid than his later work, the story strongly bore the influence of William Faulkner  "Furious Seasons" was later used as a title for a collection of stories published by Capra Press, and is part of the collection, No Heroics, Please and Call If You Need Me Carver continued his studies under the short story writer Richard Cortez Day (like Gardner, a recent PhD alumnus of the Iowa program) beginning in autumn 1960 at Humboldt State College in Arcata, California  He chose not to take the foreign language courses required by the English program and received a B A  in general studies in 1963  During this period he was first published and served as editor for Toyon, the college's literary magazine, in which he published several of his own pieces under his own name as well as the pseudonym John Vale With his B-minus average, exacerbated by his penchant to forsake coursework for literary endeavors, ballasted by a sterling recommendation from Day, Carver was accepted into the Iowa Writers' Workshop on a $1,000 fellowship for the 1963–1964 academic year  Homesick for California and unable to fully adjust to the program's upper middle class milieu, he only completed 12 credits out of the 30 required for a M A  degree or 60 for the M F A  degree  Although program director Paul Engle awarded him a fellowship for a second year of study after Maryann Carver personally interceded and compared her husband's plight to Tennessee Williams' deleterious experience in the program three decades earlier, Carver decided to leave the University of Iowa at the end of the semester  According to biographer Carol Sklenicka, Carver falsely claimed to have received an M F A  from Iowa in 1966 on later curricula vitae  Maryann, who postponed completing her education to support her husband's educational and literary endeavors, eventually graduated from San Jose State College in 1970 and taught English at Los Altos High School until 1977  After completing graduate work at Stanford, she briefly enrolled in the University of California, Santa Barbara's English doctoral program when Carver taught at the institution as a visiting lecturer in 1974 In the mid-1960s, Carver and his family resided in Sacramento, California, where he briefly worked at a bookstore before taking a position as a night custodian at Mercy Hospital  He did all of the janitorial work in the first hour and then wrote through the rest of his shift  He audited classes at what was then Sacramento State College, including workshops with poet Dennis Schmitz  Carver and Schmitz soon became friends, and Carver wrote and published his first book of poems, Near Klamath, under Schmitz's guidance 1967 was a landmark year for Carver with the appearance of "Will You Please Be Quiet, Please?" in Martha Foley's annual Best American Short Stories anthology and the impending publication of Near Klamath by the English Club of Sacramento State College  He briefly enrolled in the library science graduate program at the University of Iowa that summer but returned to California following the death of his father  Shortly thereafter, the Carvers relocated to Palo Alto, California, so he could take his first white-collar job, at Science Research Associates, a subsidiary of IBM in nearby Menlo Park, California, where he worked intermittently as a textbook editor and public relations director through 1970 Following a 1968 sojourn to Israel, the Carvers relocated to San Jose, California; as Maryann finished her undergraduate degree, he continued his graduate studies in library science at San Jose State through the end of 1969 before failing once again to take a degree  During this period, he established vital literary connections with Gordon Lish, who worked across the street from Carver as director of linguistic research at Behavioral Research Laboratories, and the poet/publisher George Hitchcock After the publication of "Neighbors" in the June 1971 issue of Esquire at the instigation of Lish (by now ensconced as the magazine's fiction editor), Carver began to teach at the University of California, Santa Cruz at the behest of provost James B  Hall, an Iowa alumnus and early mentor to Ken Kesey at the University of Oregon, commuting from his new home in Sunnyvale, California 
Having endured a succession of failed applications to the Stegner Fellowship, Carver was admitted to the prestigious non-degree Stanford University graduate creative writing program for the 1972–1973 term, where he cultivated friendships with Kesey-era luminaries Ed McClanahan and Gurney Norman in addition to contemporaneous fellows Chuck Kinder, Max Crawford, and William Kittredge  The $4,000 stipend enabled the Carvers to buy a house in Cupertino, California  He also took on another teaching job at the University of California, Berkeley that year and briefly rented a pied-à-terre in the city; this development was precipitated by his initiation of an extramarital affair with Diane Cecily, a University of Montana administrator and mutual friend of Kittredge who would subsequently marry Kinder During his years of working at miscellaneous jobs, rearing children, and trying to write, Carver started abusing alcohol  By his own admission, he gave up writing and took to full-time drinking  In the fall semester of 1973, Carver was a visiting lecturer in the Iowa Writers' Workshop with John Cheever, but Carver stated that they did less teaching than drinking and almost no writing  With the assistance of Kinder and Kittredge, he attempted to simultaneously commute to Berkeley and maintain his lectureship at Santa Cruz; after missing all but a handful of classes due to the inherent logistical hurdles of this arrangement and various alcohol-related illnesses, Hall gently enjoined Carver to resign his position  The next year, after leaving Iowa City, Carver went to a treatment center to attempt to overcome his alcoholism, but continued drinking for another three years His first short story collection, Will You Please Be Quiet, Please?, was published in 1976  The collection itself was shortlisted for the National Book Award, though it sold fewer than 5,000 copies that year 

Personal life and death
Decline of first marriage
The following excerpt from Scott Driscoll's review of Maryann Burk Carver's 2006 memoir describes the decline of her and Raymond's marriage 

The fall began with Ray's trip to Missoula, Mont , in '72 to fish with friend and literary helpmate Bill Kittredge  That summer Ray fell in love with Diane Cecily, an editor at the University of Montana, whom he met at Kittredge's birthday party  "That's when the serious drinking began  It broke my heart and hurt the children  It changed everything "
"By fall of '74", writes Carver, "he was more dead than alive  I had to drop out of the PhD program so I could get him cleaned up and drive him to his classes"  Over the next several years, Maryann's husband physically abused her  Friends urged her to leave Raymond 
"But I couldn't  I really wanted to hang in there for the long haul  I thought I could outlast the drinking  I'd do anything it took  I loved Ray, first, last and always "
Carver describes, without a trace of rancor, what finally put her over the edge  In the fall of '78, with a new teaching position at the University of Texas at El Paso, Ray started seeing Tess Gallagher, a writer from Port Angeles, who would become his muse and wife near the end of his life  "It was like a contretemps  He tried to call me to talk about where we were  I missed the calls  He knew he was about to invite Tess to Thanksgiving " So he wrote a letter instead 

"I thought, I've gone through all those years fighting to keep it all balanced  Here it was, coming at me again, the same thing  I had to get on with my own life  But I never fell out of love with him "
After being hospitalized three times between June 1976 and February or March 1977, Carver began his "second life" and stopped drinking on June 2, 1977, with the help of Alcoholics Anonymous  While he continued to regularly smoke marijuana and later experimented with cocaine at the behest of Jay McInerney during a 1980 visit to New York City, Carver believed he would have died of alcoholism at the age of 40 had he not overcome his drinking 

Second marriage
In November 1977, Carver met the poet Tess Gallagher at a writers' conference in Dallas, Texas  Gallagher later remembered feeling "as if my life until then had simply been a rehearsal for meeting him " Beginning in January 1979, Carver and Gallagher lived together in El Paso, Texas, in a borrowed cabin near Port Angeles, Washington, and in Tucson, Arizona  
In 1980, the two moved to Syracuse, New York, where Gallagher had been appointed the coordinator of the creative writing program at Syracuse University; Carver taught as a professor in the English department  He and Gallagher jointly purchased a house in Syracuse, at 832 Maryland Avenue  In ensuing years, the house became so popular that the couple had to hang a sign outside that read "Writers At Work" in order to be left alone  
In 1982, he and his first wife, Maryann, were divorced In 1988, six weeks prior to his death, Carver and Gallagher married in Reno, Nevada 

Death
On August 2, 1988, Carver died in Port Angeles, Washington, from lung cancer at the age of 50  In the same year, he was inducted into the American Academy of Arts and Letters  He is buried at Ocean View Cemetery in Port Angeles, Washington  The inscription on his tombstone reads:

His poem "Gravy" is also inscribed 
As Carver's will directed, Tess Gallagher assumed the management of his literary estate 

Awards and memorials
Carver was nominated for the National Book Award for his first major-press collection, "Will You Please Be Quiet, Please" in 1977 and the Pulitzer Prize for Fiction for his third major-press collection, Cathedral (1984), the volume generally perceived as his best  Included in the latter collection are the award-winning stories "A Small, Good Thing", and "Where I'm Calling From"  John Updike selected the latter for inclusion in The Best American Short Stories of the Century  For his part, Carver perceived Cathedral as a watershed in his career for its shift toward a more optimistic and confidently poetic style amid the diminution of Lish's literary influence 
Carver won five O  Henry Awards with "Are These Actual Miles" (originally titled "What Is It?") (1972), "Put Yourself in My Shoes" (1974), "Are You A Doctor?" (1975), "A Small, Good Thing" (1983), and "Errand" (1988) In Carver's birth town of Clatskanie, Oregon, a memorial park and statue are at the corner of Lillich and Nehalem Streets, across from the library  A block away is the building where Carver was born 

Legacy and posthumous publications
In December 2006, Gallagher published an essay in The Sun magazine, titled "Instead of Dying", about alcoholism and Carver's having maintained his sobriety  The essay is an adaptation of a talk she initially delivered at the Welsh Academy's Academi Intoxication Conference in 2006  The first lines read: "Instead of dying from alcohol, Raymond Carver chose to live  I would meet him five months after this choice, so I never knew the Ray who drank, except by report and through the characters and actions of his stories and poems "Chuck Kinder's Honeymooners: A Cautionary Tale (2001) is a roman à clef about his friendship with Carver in the 1970s  Carver's high school sweetheart and first wife, Maryann Burk Carver, wrote a memoir of her years with Carver, What it Used to be Like: A Portrait of My Marriage to Raymond Carver (2006) 
In 2009, The New York Times Book Review and San Francisco Chronicle named Carol Sklenicka's unauthorized biography, Raymond Carver: A Writer's Life (2009), published by Scribner, one of the Best Ten Books of that year; and the San Francisco Chronicle deemed it: "exhaustively researched and definitive biography"  Carver's widow, Tess Gallagher, refused to engage with Sklenicka His final (incomplete) collection of seven stories, titled Elephant in Britain (included in "Where I'm Calling From") was composed in the five years before his death  The nature of these stories, especially "Errand", have led to some speculation that Carver was preparing to write a novel  Only one piece of this work has survived – the fragment "The Augustine Notebooks", first printed in No Heroics, Please Tess Gallagher fought with Knopf for permission to republish the stories in What We Talk About When We Talk About Love as they were originally written by Carver, as opposed to the heavily edited and altered versions that appeared in 1981 under the editorship of Gordon Lish  On October 1, 2009, the book, entitled Beginners, was released in hardback in Great Britain, followed by its publication in the Library of America edition which collected all of Carver's short fiction in a single volume The Raymond Carver Reading Series at Syracuse University is a reading series program which annually brings 12 to 14 prominent writers to the campus  It is presented by the Creative Writing Program in SU's College of Arts and Sciences 

Literary characteristics
Carver's career emphasized short stories and poetry  He described himself as "inclined toward brevity and intensity" and "hooked on writing short stories" (in the foreword of Where I'm Calling From, a collection published in 1988 and a recipient of an honorable mention in the 2006 New York Times article citing the best works of fiction of the previous 25 years)  Another stated reason for his brevity was "that the story [or poem] can be written and read in one sitting " This was not simply a preference but, particularly at the beginning of his career, a practical consideration as he juggled writing with work  His subject matter was often focused on blue-collar experience, and was clearly reflective of his own life Characteristics of minimalism are generally seen as one of the hallmarks of Carver's work, although, as reviewer David Wiegand notes:
Carver never thought of himself as a minimalist or in any category, for that matter 
"He rejected categories generally," Sklenicka says  "I don't think he had an abstract mind at all  He just wasn't built that way, which is why he's so good at picking the right details that will stand for many things "
Carver's editor at Esquire, Gordon Lish, was instrumental in shaping his prose in this direction – where his earlier tutor John Gardner had advised Carver to use fifteen words instead of twenty-five, Lish instructed Carver to use five in place of fifteen  Objecting to the "surgical amputation and transplantation" of Lish's heavy editing, Carver eventually broke with him  During this time, Carver also submitted poetry to James Dickey, then poetry editor of Esquire 
Carver's style has also been described as dirty realism, which connected him with a group of writers in the 1970s and 1980s that included Richard Ford and Tobias Wolff with both of whom Carver was closely acquainted, as well as others such as Ann Beattie, Frederick Barthelme, and Jayne Anne Phillips  With the exception of Beattie, who wrote about upper-middle-class people, these were writers who focused on sadness and loss in the everyday lives of ordinary people—often lower-middle class or isolated and marginalized people In his essay "On Influence", Carver states that, while he was an admirer of Ernest Hemingway's fiction, he never saw him as an influence, citing instead the work of Lawrence Durrell 

Works
Fiction
Collections
Will You Please Be Quiet, Please? (first published 1976)
Furious Seasons and other stories (1977)
What We Talk About When We Talk About Love (1981)
Cathedral (1983)
Elephant (1988) – this title only published in Great Britain; included as a section of Where I'm Calling From: New & Selected Stories in the U S 
Beginners (2009)

Compilations
Where I'm Calling From: New & Selected Stories (1988)
Short Cuts: Selected Stories (1993) – published to accompany the Robert Altman film Short Cuts
Collected Stories (2009) – complete short fiction including Beginners (see section above for wiki-link)

Poetry
Collections
Near Klamath (1968)
Winter Insomnia (1970)
At Night The Salmon Move (1976)
Fires (1983)
Where Water Comes Together With Other Water (1985)
Ultramarine (1986)
A New Path To The Waterfall (1989)
Gravy (Unknown year)

Compilations
In a Marine Light: Selected Poems (1988)
All of Us: The Collected Poems (1996)

Screenplays
Dostoevsky (1982, with Tess Gallagher) (published in 1985)
Purple Lake (1983, with Michael Cimino) (unpublished)

Films and theatre adaptations
Short Cuts directed by Robert Altman (1993), based on nine Carver short stories and a poem
Everything Goes directed by Andrew Kotatko (2004), starring Hugo Weaving, Abbie Cornish and Sullivan Stapleton based on Carver's short story "Why Don't You Dance?"
Whoever Was Using This Bed, also directed by Andrew Kotatko (2016), starring Jean-Marc Barr, Radha Mitchell and Jane Birkin, based on Carver's short story of the same name
Jindabyne directed by Ray Lawrence (2006), based on Carver's short story "So Much Water So Close to Home"
Everything Must Go directed by Dan Rush (2010), and starring Will Ferrell, based on Carver's short story "Why Don't You Dance?"
Birdman or (The Unexpected Virtue of Ignorance), directed by Alejandro G  Iñárritu, depicts the mounting of a Broadway production of "What We Talk About When We Talk About Love" as its central storyline  The film's main character, Riggan Thomson, attributes his choice of acting as a profession to a complimentary note he once received from Raymond Carver written on a cocktail napkin  The film also preludes with Carver's poem "Late Fragment " In February 2015, Birdman won four Oscars, including the Academy Award for Best Picture 
Passage 15:
Night 'n' Gales
Night 'n' Gales is a 1937 Our Gang short comedy film directed by Gordon Douglas   It was the 156th Our Gang short (157th episode, 68th talking short, and 69th talking episode that was released 

Plot
Though he would rather spend his evening in peace and quiet, Mr  Hood (Johnny Arthur) is forced to endure the offkey harmonizing of The Four Nightengales, a junior singing aggregation composed of Spanky, Alfalfa, Buckwheat and Porky 
After interminable choruses of "Home! Sweet Home!", the four boys are finally ready to leave, but are forced to stay in the Hood home due to a sudden thunderstorm  Both Darla and her mother are delighted, but Mr  Hood is dismayed, especially when he is told that he must share his bed with the Four Nightengales  Driven crazy by the boys' unintentionally disruptive shenanigans, Mr  Hood escapes to the living room and tries to sleep on the couch, covering himself with a bear rug to keep warm  Naturally, the gang mistake him for a real bear, and comic chaos ensues 

Notes
Comedian Johnny Arthur, who played Spanky McFarland's absent-minded father in Anniversary Trouble, returns as Darla's father in Night 'n' Gales  He was so popular with audiences that he played Darla's father once again in Feed 'em and Weep 

Cast
The Gang
Darla Hood as Darla
Eugene Lee as Porky
George McFarland as Spanky
Carl Switzer as Alfalfa
Billie Thomas as Buckwheat
Gary Jasgur as Junior

Additional cast
Johnny Arthur as Arthur Hood, Darla's father
Elaine Shepard as Darla's mother

See also
Our Gang filmography
Passage 16:
Freak Talks About Sex
Freak Talks About Sex, released for home video as Blowin' Smoke (its working title was Syracuse Muse), is a 1999 film starring Steve Zahn and Josh Hamilton  The movie was shot in Auburn and Syracuse, New York  It deals with issues such as love, sex, life after college, and living in a medium-sized city, in this case Syracuse 

Plot
Dave Keenan (Josh Hamilton) left Syracuse for a new life in Arizona  When that didn't work out, he moved back to Syracuse  He works a dead-end job at a department store in a mall, his car has broken down (and the mechanic is taking forever to fix it) and his ex-girlfriend (Arabella Field) wants him to join her in New York City  To make matters more complicated, one of his co-workers, a high school girl named Nichole (Heather McComb) seems to be getting romantically interested in him  His best friend Freak (Steve Zahn) is around for him to hang out with and offer such choice philosophical observations, like "I can't think of a single movie that couldn't be improved by a lesbian sex scene " Dave is stuck in a rut and has to decide what to do with his life 

Soundtrack
Tugboat Annie - "Stay Inside"
The Wrench - "Girl"
Scary Chicken - "Favorite Channel"
Chic - "Le Freak"
The Tortillas You Wanted - "Girls and Cars"
Blondie - "Heart of Glass"

External links
A trailer for the movie
Freak Talks About Sex at IMDb
Freak Talks About Sex at Rotten Tomatoes



ground_truth: Clatskanie

Clatskanie, Oregon